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THE INTRUDER" 



:>, 



RIL HARCOURT 




SARIUm. FRENCH, 28-30 West 38th St., New York 



(( 



THE INTRUDER" 



A DRAMA IN THREE ACTS 



/9l 



BY 

CYRIL HARCOURT 
w 



Copyright, 1920, by Samuel French 
All Rights Reserved 



CAUTION. — Professionals and Amateurs are hereby warned 
that "THE INTRUDER/* being fully protected under 
the copyright laws of the United States, is subject to. a 
royalty and anyone presenting the play without the cdn- 
sent of the owner or his authorized agents will be liable 
to the penalties by law provided. Applications for the 
amateur acting rights must be made to Samuel French, 
28-30 West 38th St., New York City. Applications for 
the professional rights must be made to the American 
Play Company, 33 West 42nd St., New York. 



New York: 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London : 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

Strand 






Especial notice should be taken that the possession of this 
book without a valid contract for production first hav- 
ing been obtained from the publisher confers no right 
or license to professionals or amateurs to produce the 
play publicly or in private for gain or charity. 

In its present form this play is dedicated to the reading 
public only and no performance of it may be given 
except by special arrangement with Samuel French, 
28-30 West Thirty-eighth Street, New York City. 

Section 28 — That any person who wilfully or for profit 
shall infringe any copyright secured by this act, or 
who shall knowingly and wilfully aid or abet such in- 
fringement, shall be deemed guilty of a misdemeanor, 
and upon conviction shall be punished by imprison- 
ment for not exceeding one year, or b§r a fine or not 
less than one hundred nor more than one thousand 
dollars, or both, in the discretion of the court. 

Act of March 4, 1909. 



°"-2«2feaa56i63 



The following is a copy of the play-bill of the 
first performance of "THE INTRUDER." 

COHAN AND HARRIS THEATRE, NEW 
YORK, SEPTEMBER 26, 1916 

MESSRS. COHAN AND HARRIS 

PRESENT 

THE INTRUDER 

A DRAMA IN THREE ACTS 

BY 

CYRIL HARCOURT 



If <<- 



author of a pair of silk stockings, my 
lady's name," etc. 

Staged by Sam Forest 

The characters are named in the order in which 
they make their first entrance. 

THE CAST 

Pauline Levardier Olive Tell 

George Guerand Vernon Steel 

Rene Levardier Frank Kemble Cooper 

Baptiste, Levardier's servant . . . Lawrence White 

A Stranger , H. Cooper-Cliff e 

Natalie, Madame Levardier's rm.id. Dorie Sawyer 
Commissaire of Police ..... Frederick Esmelton 

Agent of Police /. H, Greene 

Agent of Police A. H. Reno 

Francois, Guerand's valet George Barr 

First Clerk Kenneth Keith 

Second Clerk F. G. Harley 

3 



SYNOPSIS. OF SCENES 

ACT I. Levardier's apartments. (During this 
act the Hghts will be lowered to in- 
dicate the lapse of a few hours.) 
Scene i — About lo o'clock, Monday 
night. Scene 2 — About 5 o'clock, 
Tuesday morning. 

ACT 11. George Guerand's apartment. Wed- 
nesday morning. 

ACT III. Levardier's office in the Law Courts. 
An hour later. The action of the 
play takes place in Paris. 

Especial notice should be taken that the posses- 
sion of this book without a valid contract 
for production first having been obtained 
from the pubHsher confers no right, or li- 
cense to professionals or amateurs to pro- 
duce the play publicly or in private for 
gain or charity. 

In its present form this play is dedicated to 
the reading public only and no performance 
of it may be given except by special ar- 
rangement with Samuel French, 28-30 
West 38th Street, New York City. 

Section 28. — That any person who wilfully or 
for profit shall infringe any copyright se- 
cured by this act, or who shall knowingly 
and wilfully aid or abet such infringement, 
shall be deemed guilty of a misdemeanor, 
and upon conviction shall be punished by 
imprisonment for not exceeding one year, 
or by a fine of not less than one hundred 
nor more than one thousand dollars, or 
both, in the discretion of the court. 

Act of March 4, 1909. 



"The Intruder" 



ACT I 

Scene: Levardier's flat in Paris. Doors l. and 
R. closed. Double doors open. Brackets and 
lamps alight, Windows r.c. and l.c. Fire- 
place c. Piano c. Armchair in front of it. 
Oval table R.c. Armchair r. of it — single chair 
L. of it. Settee l.c. Desk up l. Chair in 
front of if. Piano stool behind piano. DIS- 
COVERED: Pauline is seated at piano c. 
She commences to play before rise of curtain 
and continues when curtain is up. Slight pause, 
Gfofge enters through double doors and crosses 
behind piano and stands r. of it, leaning over 
and gazing admiringly at Pauline. 

George. That's beautiful. (Pause) I could 
listen to that forever. 

Pauline. (Still playing) Do you understand 
the words? 

George. Yes, I know the meaning of the words. 
The loveliest words there are — in any lansfuage. 
I love you, dear. I love you. (She stops playing) 
Go on. Play it three times through. (She plays 
again) 

Levardier. (Enters with newspaper, from, 
double doors) Oh, here you both are. (Coming 

5 



'iHE INTRUDER" 

docvH lJ I v/ondered what had become of you. 
Music again ! Do you really prefer that stuff to 
dinner, George? Noise! That's all it is, noise. 
Music is a particularly irritating form of noise. 
Whenever I hear music I feel like the devil when 
he hears a church-bell. Pauline, will you stop? 
("Pauline stops, then she plays three deliberate dis- 
cords) For this relief, much thanks ! (Crosses 
and sits r. of table r.c.J 

George. Levardier, you're a phihstine. (Sits c.) 

Levardier. Philistine! Not I. (^Pauline r/^<?.?, 
pours out a glass of kummel and places it on table 
R.C., then goes back to piano) 

George. Is there anything in the paper? 

Levardier. Rather ! Listen to this. (Reads) 
**Lyons, November the loth. Mysterious crime. 
At 9 A.M. yesterday the dead body of Madame 
Herbert was discovered in the bath-room of her 
house, cut and lacerated in a manner almost beyond 
belief, the 'head and one of the arms being almost 
entirely severed from the body." (During this, 
Pauline has given liqueur to George J 

Pauline. Oh, Rene, don't! Don't! (Moving 
behind piano to l.c.J 

Levardier. Gad, what a magnificent case ! 
What a magnificent case for Flannard ! That's the 
second he's had in less than six months. Why 
don't I get these sensational cases? Nothing of 
this sort ever happens to me. All I ever get are 
stupid little thefts, street rows, window smashing. 
Why don't I get something that will bring notoriety 
and promotion? 

George. (Rising and placing glass on tray ) 
Upon my soul, Levardier, you prosecuting counsel ! 
Why, your cynicism is only equalled by the crime 
itself. (Lights cigarette and leans on piano) 

Levardier. Cynicism? Where's the cynicism? 



"THE INTRUDER" 7: 

(George moves to l. of table r.cJ All I said was, 
"Here's a fine case. Well, isn't it a fine case? 
Isn't it' interesting ? Isn't it subtle ? Of course it 
IS. It's the sort of case that repays one for one-s. 
labor and one's work on it. It's a magnificent case, 
and I wish to Heaven I had the handling of itj 
Searching for the motive, analyzing every clue, 
probing, scenting, hunting. That's not cynicism', 
my dear fellow, it's mere professional interest. Do, 
for heaven's sake, d^stingu^'sh. But I don't get 
cases of this sort. I don't have that sort of luck. 
It does-^'t come my way. For instance, what do 
you think I've got to do to-night? I've got to cart 
myself ofif to Fortai-^ebleau on a slow train — on a 
beast of a right like this, because some wretched 
ass of a student has cut his mistress' throat and 
botched the job of cutting his own. That's a liice 
way for a man like me to spend his time and waste 
his en^rofy, isn't it? (^George laughs) Why, the 
man isn't even dead. And I've got to interview 
him, exami'-e him., with his silly throat tied up in 
sticking plaster in some filthy toxic hospital. (Dur- 
ing thh Pauline moves to behind piano and looks 
at music) 

George. Why? (Crosses and sits on settee l.c-J 
Levardier. Why? Because I get these rotten 
cases. Because the fool of a magistrate at Fontaine- 
bleau has smashed his thumb, broken his leg, got 
influenza— I don't k^ow. He's laid up. A rotten, 
squalid brawl. Not even interesting. The whole 
thing's idiotic. The Jaw's id^'otic. The train service 
is worse than idiotic. I sha'n't get to Fontaine- 
bleau till eleven, and there isn't a train back to 
Paris till five o'clock to-morrow morning. I sha'n't 
get a wink of sleep all night. I sha'n't get anything. 
Where's that kummel ? (Rises impatiently, sees 
liqueur, says) Ah ! (Drinks) 



8 "THE INTRUDER" 

George. Isn't there a train back at midnight? 

Levardier. No. 

George. Why don't you sleep at Fontainebleau, 
you duflfer? 

Levardier. Why ? Because I've got to be back 
in Paris early. I must turn over the papers and the 
evidence in the Peters bank embezzlement to the 
Public Prosecutor. 

George. What was the evidence? 

Levardier. (Crossing to c, carrying paper) 
One of the employees stole 200,000 francs in 1000- 
f ranc notes. Here they are. (Produces them from 
pocket) 

George. (Rising) Hello! (Takes notes from 
Levardier J 

Levardier. And then the fool got caught. 

George. By the police ? 

Levardier. Yes, for once. 

George. And where did they find it? 

Levardier. Where ? In the damn fool's pocket. 

George. Not a very clever thief. 

Levardier. I should say he was an amateur. 
CGeorge is about to place notes in his pocket, 
■when Levardier says) Here, here, young man. 
(Takes them from him and replaces them in en- 
velope) 

George. Well, the bank is in luck to get the 
money back. 

Levardier. I wish the bank had the money back 
at this moment. It was too late to return it and now 
I'm responsible for it until I turn it over to the 
Public Prosecutor to-morrow morning. (Puts en- 
velope in his pocket) 

George. Well, I don't see what you're com- 
plaining about. I call that a very interesting case. 
(Sits again L.c.j 

Levardier. Interesting? Bah! This is the case 



'THE INTRUDER" 9 

I ought to have had — (Holding up paper) — this 
Lyons case. I could put some brains into that— 
wits, imagination : something a little outside mere 
routine. (Crosses and places armchair r.c. behind 
table and sits) 

Pauline. I hate your Police Court news. 

That's all I hear from morning, noon and night 

(Gets Rene's glass from table and places it on 
tray) How are things in your world to-day, 
George? (Moves behind piano to l.c.J 

George. Things in my world ? Don't talk about 
them ! Awful ! Slump, slump ! A little more and 
the bottom will be knocked clean out of the market 
and out of me. 

Pauline. (i..c.) It serves you right. How 
often have I told you not to speculate? A man like 
you ! Why, it's ridiculous ! But you're as ob- 
stinate 

George. As an inflated mule — I know. By 
the way, is it Saturday we're going to the 
Odeon ? 

Pauline. Yes, Saturday. Don't forget, we've 
got a stall for you. 

George. No, hang it, I'm not so broke that I 
can't afiford to pay for my own seat. 

Pauline. Nonsense! Besides you wouldn't be 
able to get a seat now — next to me. (They look at 
each other) You don't want to come, do you, 
Rene? (Crosses and sits c.j 

Levardier. What's that? 

Pauline. You don't want to come to the theater 
with me Saturday? 

Levardier. Good heavens, no! You take her, 
George. 

George. I hear it's a thundering good play. 

Levardier. Ah, there are no good plays! I 
loathe our theater, our conATentional, artificial thea- 



lo "THE INTRUDERS' 

ter you're all so mad about. What on earth do I 
want with puppet emotions when I can see real 
emotions every day — all day long in the theater 
where lives are really lived. However, I don't 
impose my tastes on my wife. You take her, 
George, I'm not jealous. 

Pauline. (Rising and going up l.c.J I'm just 
going to see if there isn't some better train back 
from Fontainebleau. It's absurd to be obliged to 
wait there till five o'clock in the morning. 

George. I should say so. Of all the God-for- 
saken places to have to spend the night! (Rises) 

Pauline. (Taking out time table from writing 
table) Which line is it ? 

George. (Moving up and sitting on edge of 
table) Laroche — Dijon. Here, let me look, you'll 
never find it. (Takes timetable from her) Laroche 
— Dijon — here we are. Train leaves Paris at 10:20. 
(Takes out his match) 

Pauline. (Taking watch and looking at it) Oh, 
what a lovely watch ! 

George. Gets him to Fontainebleau at 11:32, 
and there's a train back at 1 1 :40. 

Pauline. Oh, that only gives him eight minutes 
to clear up the case. (Gives him watch back) 

George. Yes, that's of no use. What's the 
next? Oh, here's one at 12:30. No, that's Satur- 
days only. Nothing else till 4 A.M. Gets him 
back to Paris at five. No, I'm afraid he'll have to 
stick it. 

Levardier. I say, George, listen to this. (Reads. 
Pauline and George move over to c.) "At 10 
o'clock last night M. Otard, a banker, residing at 
Versailles, surprised his wife in a private room at 
Maire's, the well-known restaurant on the Boule- 
vard Sebastopol, with a man unknown. With two 
shots from his revolver he killed Madame Otard on 



"THE INTRUDER" ii 

the spot and severely wounded her companion, 
whose identity has not yet been estabhshed. The 
wounded man was removed to the Hotel-Dieu, 
where he hes in a critical condition." What do you 
think of that? Fat old Otard, I know him! 

Pauline. There you go again ! Really, Rene, 
you're quite hateful with your continual police court 
news. (Moves to l.c.J 

Levardier. But I call that most instructive. It's 
always interesting to me to discover what a man is 
capable of doing, or a woman, either. 

Pauline. (Turning and facing him) What do 
you mean? 

Levardier. In my opinion, this man Otard is 
not a criminal. 

Pauline. Not a criminal? But he killed his 
own wife ! 

Levardier. Well, what was his wife? 

Pauline. What was M. Otard ? Do you imag- 
ine his private life was spotless? 

Levardier. That has nothing to do with it. 

Pauline. Nothing to do with it! What a 
charming code of morality! How fair! How just! 
One law for the woman and another for the man — 
the lordly, immaculate male. (Crosses and sits on 
settle L.C.J 

Levardier. Another for the lordly, immacu- 
late male, and a law you'll never alter. Whatever 
Otard may have been himself, if he caught his wife 
in flagrante delictu 

George. (Moving forzvard) But you don't 
know that he did ? 

Levardier. Don't I? 

George. (Moving to table r.c.J Then I imag- 
ine your contention to be this : upon certain provo- 
cation you say that a man is justified in taking the 
law into his own hands. (^Levardier starts to 



12 "THE INTRUDER" 

speak) Well, that's what it amounts to. It's the 
first time I ever heard of an examining magistrate 
putting up excuses for murder. (Sits r.cJ Aren't 
you rather overlooking the fact that the law of the 
land provides M. Otard with a fairly solid remedy 
for his wrongs ? 

Levardier. What, the divorce court? Do you 
mean that? That's a precious institution, isn't it? 
I am one of those men, my dear George, and I'm 
not the first who are of the opinion that the law is 
an ass, though I administer the law. 

George. I don't quite follow you? 

Levardier. I'll make myself clear. A man 
makes love to my wife. Very well, I am dishon- 
ored and I lose her. I lose my wife. But I have 
the intense satisfaction a year later of seeing her 
become her lover's wife. The law provides me 
with that blissful alternative. That's my remedy. 
And do you seriously suppose that that remedy sat- 
isfied me? Do you suppose that that assuages my 
grief? Does it provide for my human desire and 
my human right to be revenged? No, and I say 
that it should. There's no revenge in it. It heaps 
insult upon injury. It destroys my world and 
laughs at me and tells me to turn the other cheek. 
But that doesn't satisfy my thirst. The remedy 
should consist of punishment — suffering. Suffer- 
ing, that I, the injured man, may see and feel. 
Then you satisfy me. To some extent you restore 
my self-respect, and you revitalize my crippled man- 
hood. 

George. I see. So your remedy is a revolver 
shot ? 

Levardier. Don't let us misunderstand each 
other. I merely said that Otard was within his 
rights. I didn't say that I should have done the 
same thing. On the spur of the moment, no doubt 



"THE INTRUDER" 13 

Otard thought that killing was the best method, 
and he killed. Personally, I don't think that kill- 
ing is the best method of taking revenge. If you 
put a bullet through a man's head what satisfaction 
do you get out of it? You, the enraged husband? 
You don't make that man sufifer. It's over in a 
couple of seconds. Similarly, the woman, f Paul- 
ine rises and takes a step to c.) Oh, no, if Pauline 
deceived me I shouldn't kill her. 

Pauline. Don't you think we might discuss 
something else ? I don't feel that all this is the best 
possible taste. Perhaps you do. (Crosses to l.) 

Levardier. In elemental human nature, my 
dear Pauline, the point of good or bad taste scarcely 
comes into the question. (^Levardier rising and 
moving to c. George rises also and moves to r. 
The quarter chimes are heard in the distance, fol- 
lowed by the hour chime, 10 o'clock) By gad, it's 
ten o'clock ! (^Pauline crosses and pulls bell-cord 
L.J I shall miss that train if I'm not careful. 
This money ought to be locked up. (Takes out en- 
velope from his pocket) In fact, it oughtn't to be 
here at all. Here, George, you're in a hole for 
money, how would you like this? (Goes to George J 

George. Get thee behind me, Satan, and don't 
push. If I were caught with that, it might put me 
in a tighter hole than I am now. It shouldn't be 
here to tempt me. 

Levardier. It wouldn't be here if I'd had time 
to deposit it. (Moves over to writing-table. Paul- 
ine moves to above double doors) 

George. You ought to have a safe in this place. 

Levardier. Yes, with all this about. (Produc- 
ing keys and unlocking drazver) However, this 
must do till morning. (Placing notes in drawer 
and locking it. Bapttste enters dozvn lJ I want 
V a taxi as quick as you can get it! ("Bapttste exits 



M 



"THE INTRUDER' 



through double doors) Pauline, get my coat. (She 
crosses and exits rJ I've left myself no time to 
change now. It's your fault, George, for involving 
me in ethical discussions. Well, Fontainebleau 
will have to put up with me in the garb of civiliza- 
tion. Fontainebleau! Ye gods! (Goes up l.c. to 
window) And I'm damned if it isn't snowing! 
Well, upon my ! (^George laughs and goes be- 
hind table R.C.J Yes, it's all very well for you to 
laugh, you're not a poor devil of an examining mag- 
istrate. And don't you ever become one — (^Paul- 
ine re-enters, carrying Rene's coat. She crosses to 
him and helps him on) — my friend. It's a dog's 
life. No position, no income, no anything. Noth- 
ing but Fontainebleau. Fontainebleau in the snow ! 
Now I must be off. (^Pauline has helped him on 
and stands l. of him) 

Baptiste. (Re-enters, leaving open double 
doors. Stands above doors) The taxi's waiting, 
sir. 

Levardier. I'm coming. (Turns to Pauline, 
kisses her and says) Good night. (She moves up 
and behind piano down R.J 

George. (Moving to r. of LevardierJ I ought 
to be going, too. 

Levardier. Not you ; stay and talk to Pauline. 
(Fills his cigar-case from, humidor on piano) 

George. I'm off to Brussels myself to-morrow 
morning early. 

Levardier. So you are, I'd forgotten. Things 
are pretty tight. 

George. Tight! They're so tight that if I can't 
raise 50,000 francs in Brussels to-morrow, I'm 
broke. 

Levardier. As bad as that ? 

George. As bad as that. 

Levardier. Well, may the money-lenders be 



"THE INTRUDER" 15 

good to you in Brussels. Good-night. (Moving 
to D. doors) 

George, (c.) Good night. I say, Levardier, 
give my love to Fontainebleau. 

Levardier. Fontainebleau! Ooh! (Folds his 
coat around him, and exits with an impatient excla- 
mation. Baptiste follows, closing doors behind 
him. Slight pause, then clock on mantelpiece strikes 
ten. Pauline moves slowly to c. George sits l.c.J 
George. Pauline, is this journey of his to Fon- 
tainebleau a trick? 

Pauline, (c.) A trick? 

George. Yes. Is he really going to Fontaine- 
bleau? I believe he suspects. 
Pauline. Suspects what? 
George. Us. You and me. 
Pauline. Nonsense ! 

George. I've never heard him talk as he talked 
just now. I didn't know he possessed such ideas. 
Pauline. Didn't you? You're not his wife. 
You don't know him. (Sits c.) You only know 
one side of him — not the side I know — the side I 
have to live with. Why, he's not a husband, he's 
an ambitious officer of the law. I know, according 
to the code, that this is wrong. But isn't he wrong? 
Do you think that he azd I are friends or compan- 
ions in any sense whatever? Not one. (Rises and 
fnoves to r.cJ Do you think we can ever look at 
the same picture, read the same book, or pray the 
same prayers? Never. If I only had something I 
could call my own ! Something that would draw us 
nearer together, but there's nothing, nothing ! (Sits 
L. of R.c. fable) You know the way in which most 
of us French girls marry — almost without thinking 
—for every reason but the right one. That's how I 
married. And we don't realize what it may mean to 
us later on. But young girls are not women of the 



i6 "THE INTRUDER" 

world. I never knew what love could be till now. 

George. (Rising and going to c.) Pauline, why 
won't you let me go to Rene and tell him that — just 
that ? 

Pauline. Oh, it seems so brutal. It would hurt 
his pride so dreadfully. I don't want to hurt him, 
George, I don't want to hurt anyone. 

George. I know you don't, but someone has got 
to be hurt. Your life's all wrong, Pauline. So is 
mine. I hate this deception. I loathe it — I detest 
it ! So d^ y^'x — it isn't right. 

Pauline. I don't know what is right. I don't 
know what is wrong. (Rises) I only know I love 
you. Is it wrong to love each other, George? It 
can't be. 

George. I only know wl.at is considered zcrong, 

and I know I'd die for you (Takes her hands) 

Perhaps that's wrong. 

Pauline. How can you expect me not to love 
you when you taM< like that? George, you're a 
sweet-minded darling. 

George. I know I am a wonderful chap. I'm a 
white archangel. But that isn't quite the point. I 
suppose we ought to give each other up and 
cut it. 

Pauline. (Clinging to him) George, I won't 
be a martyr at twenty-one ! I'm martyr enough 
already. 

George. By Gad, I wish I were a king. I wish 
I were a king, Pauline. I'd make a few decent, 
simple laws, just a few of them to steer by. 

Pauline. But you're not a king, George, you're 
a stock-broker. (^Baptiste enters up l.c. They 
break away) You can take away these things and 
then you can go to bed. (^George goes up r.c. Bap- 
tiste goes to r. of piano. To George J You don't 
mind letting yourself out, do you? 



"THE INTRUDER'' 17 

George. (Up c.) Gracious, no! ("Baptiste 
takes liqueur tray from piano and goes lJ 

Pauline. Baptiste had to wait up this morning- 
till nearly two o'clock. (To Baptiste, who stops) 
M. Guerand will let himself out. And tell Natalie 
not to wait up for me, she may go to bed, too. 

Baptiste. Yes, madame. (Exits down L. Slight 
pause) 

George. (Coming down l. of piano to L.c.J 
Pauline, you may say what you like, but I'm sus- 
picious. ^Pauline looks at him) Oh, my dear 
girl, don't misunderstand me. Pm not thinking" of 
myself, but of you. All those horrible things he 
said about revenge just now. Wait till I come back 
from Brussels. Let me see you again then. 

Pauline. (Moving to c.) But, dear, it's ab- 
solutely safe. Pm quite certain. Really, you're 
alarmed about nothing. You are, really. I heard 
the telephone message myself. 

George. Even if you did hear it, if you're an 
examining magistrate you can get anything tele- 
phoned to you. 

Pauline. But Pm not tricked like that. I tele- 
phoned to the judge's office half an hour afterwards 
myself, to find out if it was true, and it was. He 
must be at Fontainebleau and he can't possibly be 
back till long past five. George ! 

George. (Going to her and taking her in his 
arms) Oh, Eve, Eve, how can I resist the irresist- 
able ! 

Pauline. Am I irresistable? 

George. You know you are. Everything in me 
goes out to you — and you're another man's wife. 
(Breaking away and going down l.) Oh, God, if 
you were not another man's wife! 

Pauline. I may be his wife, but you're my 
mate. You're my mate though you're not my hus- 



i8 "THE INTRUDER" 

band. Aren't there excuses for us, George? It's 
life, the elemental human nature Rene's so fond of 
talking about. 

George. (Going to Iter and taking her in his 
arms) And we'll live our life — we'll live our life. 

Pauline. Yes, yes. (They kiss^ then lights 
fade out and curtain falls. The orchestra plays 
softly and music played off at the opening of the 
act, Pauline changes off r. Change clock on man- 
telpiece to five o'clock. When Pauline is ready, 
start wind-effect, then take up curtain) 

Scene II. As curtain rises chimes are heard strik- 
ing the quarters. Pause. Stranger comes 
to window and cuts a pane of glass zvith four 
deliberate strokes. TJie church clock strikes 
five, wind, which has slowed down, starts again. 
Stranger opens ivindow and enters; as the 
wind swells, he cojncs down to front of piano, 
flashing his torch as he does so. He stands 
there for a moment, looks around, then goes 
straight to the desk i^.c. : he opens the drazvs 
quickly and searches among the papers ; he fi- 
nally comes to the one Levardier has appar- 
ently locked; he places torch on table and pro- 
duces jimmy. He proceeds to pry drazver open 
as clock on jnajitel strikes five. 

Pauline. (Heard off, down ^.) Dearest. I 
heard it strike five, you must go. (^Stranger, carry- 
ing torch, moves quickly to c.) 

George. (After a slight pause) Five! Is it 
really five o'clock ? How the hours fly ! (^Stranger 
moves up r.c.^ pauses and listens) 

Pauline. Time flies on golden wings when I'm 
with you. ("Stranger conceals himself behind 
down stage curtain of zvindow r.c. Paitltne en- 



"THE INTRUDER" 19 

ters and goes to door down l., listens and George 
follows slowly, leaving door open. Pauline and 
George meet at the foot of settee, and George takes 
her in his arms) 

George. (Embracing her) Oh, my girl, why is 
it so terribly hard to leave you? 

Pauline. But it's only till to-morrow. I shall 
see you to-morrow. 

George. But to-morrow is years away. 

P.M^LTNE. Tf you talk like that I shall never, 
never let you go. 

George. And I must go to Brussels. 

Pauline. And may Brussels give you every- 
thing 3^ou want tc rescue you from vour difficulties ! 
I am coming with you just as far as the stairs, and 
in my heart I'm coming with you all the way. 

George. (Softly, and with great fervour) 
Th'^re's a h'ttle danci^^g devil in your eyes, Pauline, 
a veritable sprite, and your eyes are like the shadow 
of a star. 

Pauline, How beautiful ! But you mustn't 
stop to say delicious things to me about my eyes 
now. I wish you could. (With a cautious gesture 
she goes to door l. and then up to head of settee. 
He follows) Dearest, I shall not come back in here 
until I hear the front door close behind you. And 
when you get downstairs, remember to speak in a 
deep voice when you ask the concierge to pull the 
cord. 

George. Why? (Up to her and taking her 
hands) 

Pauline. Because there's an engineer who lives 
in the flat upstairs and sometimes he goes out early 
like this. Do you see, the concierge will think it's 
he? 

George. All right, Pll remember. (Kisses her 
slozvly) 



20 "THE INTRUDER'' 

Pauline. Come, then, dearest. (Takes his 
'hmid^^^^*l^(ids him off up l. through d. doors. 
WhenrAjjLiNE and George exit, the light in the 
doorway is seen to go up. There is a pause and the 
Stranger comes out quickly from behind curtain; 
he flashes his torch, comes to c. and goes quickly 
to desk L.C., opens drawer and takes out envelope. 
Takes out notes, leaving envelope on desk, flashes 
light on notes, and door is heard to slam off l. ; he 
exits hurriedly through window up l.c.^ which he 
leaves open. Pauline re-enters and moves slozvly 
over to c. The noise and draught from the open 
window attracts her attention. She looks around, 
goes up to window, pauses, then goes behind settee 
and off L., calling) Natalie! Natalie! Natalie! 
Come here! 

Natalie. (Off-stage) Yes, Madame, I'm com- 
ing. (Their voices are heard off) 

Pauline. (Re-enters and goes to c.) Natalie, 
there's been someone here, f Natalie follows, ar- 
ranging her robe) Someone's been in the room. 
("Natalie switches up lights. Lights — UP) The 
window — it's been opened. Look, burglars have 
been here. The desk has been rifled. That money ! 
Gone ! They've taken it. Oh, my God ! (Moving 
to R.c. a little) 

Natalie. (Moving to l.c.J Madame, what have 
they taken? 

Pauline. Money! Money! Thousands and 
thousands of francs ! 

Natalie. Madame, are you sure? 

Pauline, (r.c.) Yes, certain! They know 
what to look for. 

Natalie. Madame, we must call the police. 

Pauline. (Startled) The police ! No ! 

Natalie. But, Madame, there's nothing else to 
do. 



"THE INTRUDER" 21 

Pauline. (Thoughtfully) Yes, you're right, 
we must call the police. 

Natalie. Shall I telephone, Madame ? 

Pauline. No, Til telephone. (Crosses and sits 
L. of table R.c. Tuf0^iio NatalieJ -Wl^t is the 
number of the police station ? 

Natalie. I don't kn&w. (Goes up and closes 
window) 

Pauline. Give me the St. Honore police station. 
("Natalie comes down c.) 

Natalie. (Looking round the room) Madame, 
have they taken anything else? 

Pauline. I don't know. (In phone) Yes, is 
this the St. Honore Police Station? Can you send 
someone here at once? A burglary has been com- 
mitted here. It has just been discovered — money, 
a large sum of money. M. Levardier's flat — M. 
Levardier — no, M. Levardier is away from home — 
I'll hoM the line. (Pause. She looks at Natalie, 
who draws her robe about her) Yes, yes, yes. 
Faubourg St. Honore 9. Thank you. They'll be 
here in five minutes. 

Natalie. Madame, you've not told me how 
you've found out. Did you hear a noise? ("Paul- 
ine looks at her) Did you hear a noise? 

Pauline. (Deliberately) Yes. Yes, I heard a 
noise. I heard a noise. It woke me up, then I — 
then I called you. 

Natalie. Oh, Madame, what a mercy you didn't 
come in when they were here ! 

Pauline. Yes, the noise I heard must have been 
the opening of the window. 

Natalie. Yes, Madame. 

Pauline. Yes, it must have been the opening of 
the window. 

Natalie. Oh, Madame, what will the master 



22 "THE INTRUDER" 

say? (Pause) Shall I call Baptiste, Madame? 
(Pause) Shall I call Baptiste, Madame? 

Pauline. Yes. 

Natalie. Yes, Madame, I'll tell him to bring 
some coffee. (Crosses and exits down l. Pauline 
rises and goes up to desk l.c, kneels and examines 
open drawer. Natalie enters and stands L.c.j 
Baptiste will be here in a moment, Madame, with 
some coffee. 

Pauline. Bring me something to put on, I'm 
cold. ^Natalie exits dozvn r. Pause. Pauline 
comes down l.c. Natalie re-enters with zvrap, 
crosses to Pauline, Jielps her into it) Are you 
sure you heard nothing? 

Natalie. Nothing, Madame, till you called. 

Pauline. (Anxiously) You heard no noise of 
any sort? 

Natalie. No, Madame. 

Pauline. And Baptiste heard nothing? 

Natalie. No, Madame, he says not. (Pause. 
Bell rings off stage l. Pauline looks at Natalie. 
Natalie exits through double doors. Pauline 
crosses to r.c. and looks at desk] then faces audi- 
ence. Natalie re-enters, followed by the Commis- 
SAiRE OF Police and two Agents of Police, who 
close D. doors as they enter. Natalie exits down l. 
Agents stand at doors. Com miss aire comes to l. 
of Pauline, placing his hat on desk l.c.J 

CoMMissAiRE. ]Madame Levardier? 

Pauline. Yes. 

CoMMissAiRE. I'm the Commissaire of Police 
for this district. Would you be good enough to 
tell me what has actually occurred here? 

Pauline. (Pointing) That desk has been 
broken open and some money has been extracted — 
a large sum of money. 
.Commissaire. Do you know the amount? 



"THE INTRUDER" 23 

Pauline. 200,000 francs. 

CoMMissAiRE. Do you know in what form? 

Pauline. In one-thousand-franc notes. 

CoMMissAiRE. (Moving up to l.c. and down 
again to l. of piano) This way in? 

Pauline. By the window, yes. 

COMMISSAIRE. And nothing else has been taken 
except those notes? 

Pauline. I don't think so. 

CoMMissAiRE. (Indicating) They were in this 
drawer ? 

Pauline. Yes, my husband locked them up 
there last night before he went away. 

Com Miss AIRE. (Taking up envelope) They 
were in an envelope? 

Pauline. Yes. 

CoMMissAiRE. (Crossing to her) Is this the en- 
velope ? 

Pauline. I think so. 

CoMMissAiRE. Are these the numbers of the 
notes ? 

Pauline. They may be. 

CoMMissAiRE. They must be. (Turns and calls) 
Jean! (^Second Agent comes to l. of him) Get 
back to the department with this. (Gives it to him) 
Explain what's happened to the courtoi and tell 
him to have these numbers published in every paper 
in Paris. Quick now, don't lose a minute. /Jean 
exits L.. carrying envelope) The snow has done 
him a bad turn. (Kneels and pats carpet) The 
carpet here is quite damp. (Rises) Where is M. 
Levardier ? 

Pauline. At Fontainebleau. (Moves to r. of 
piano, avoiding Commissaire's eye) I e:^pect him 
back any moment. 

COMMISSAIRE. Who discovcred this theft? 
(Moves to up R.J 



24 "THE INTRUDER" 

Pauline. / did. 

CoMMissAiRE. (Moving back to c) It was you 
who telephoned? 

Pauline. (Looking out at audience) Yes. I 
was asleep and I was awakened by a noise. I think 
it was the sort of noise that might be made by the 
opening of a window. 

CoMMissAiRE. (c.) And then you came into 
this room ? 

Pauline. Yes. then I came in here and called 
my maid. 

CoMMissAiRE. (Glancing at the tracks) Yes, 
there was only one of them. He came in by the 
window. One would almost think he was disturbed 
— (^Pauline moves down r.c. uneasily) — in some 
way. Something must have made him cautious. 
(Goes up L.C., opens window, wind swells. Turns 
to other gendarme) Pierre, corre here. (^First 
Agent comes to window and looks out) Follow 
those footmarks. Pick them up where they start 
under the window and follow them right on. 
(^ Agent goes to d. doors, pauses) You can't miss 
the track. It's stopped snowing. If you come up 
to your man, arrest him. 200,000 francs in thou- 
sand-franc notes. Quick, now — ^hurry. (^Agent 
exits) 

Pauline. You think you can trace the man by 
his footprints? 

Com MISS aire. (Coming down l.c.J Very likely. 
Fm counting on it, anyhow. 

Pauline. But there may be other footprints as 
well as his. 

CoMMissAiRE. There can't be very many yet, 
it's too early. (Glances at door down l.J I should 
like to know who occupies this flat besides M. 
Levardier and yourself. 

Pauline. My maid and my husband's valet. 



"THE INTRUDER" 25 

CoMMissAiRE. Have you any suspicions? 

Pauline. No, no, none ! 

CoMMissAiRE. You feel sure of them both? 

Pauline. Quite. No one but my husband and 
myself knew that those notes were in the house at 
all. 

COMMISSAIRE. That was the maid, I suppose, 
who let us in just now? (^Baptiste enters down L. 
nnth tray. Stands r. of door L.J And the valet? 

Pauline. This is the valet. (Sits l. of R.c. 
table) 

COMMISSAIRE. (Sternly) You know, of course, 
that a burglary has been committed here? 

Baptists. I've just heard it from the maid. I 
always said the flat was dangerous and unprotected, 
especially when M. Levardier is away from home. 
A whole crowd of burglars could get in here and 
no one would be any the wiser. 

CoMMissAiRE. What do you mean by that? 

Baptiste. The house is very inconvenient — 
(He catches Pauline's eye and corrects himself) 
— as regards the bedrooms and the service. My 
room is up there. I should never hear anything. 
To get to my room I am obliged to go up a stair- 
case by the kitchen — all away from this part of 
the house. 

CoMMissAiRE. What time did you go to bed last 
night ? 

Baptiste. At about eleven o'clock. Madame 
gave me leave to go without waiting for her to re- 
tire. 

Pauline. (Quickly) He had been kept up very 
late the night before. 

CoMMissAiRE. Very well, yqu may go. (^Bap- 
tiste crosses and places tray on table r.c. and exits 
down L.J In my opinion, if the thief had an ac- 
complice inside the house, he would have come in 



26 "THE INTRUDER" 

by the door instead of the window, but I may be 
wrong. May I ask if you and M. Levardier were 
out last night ? 

Pauline. No, we dined at home. A friend was 
with us — M. Guerand. At ten o'clock my husband 
left to go to Fontainebleau. 

CoMMissAiRE. i\nd did M. Guerand leave the 
house with your husband? 

Pauline. No, he stayed later. He was here till 
about twelve. He's an intimate friend of ours. 

CoMMissAiRE. I see. (Bell rings off stage l. 
Slight pause. Baptiste is heard explaining to 
Levardier zvhat has happened) 

Baptiste. Oh ! Monsieur, I'm so glad you're 
back, a terrible thing has happened ; a robbery. 

Levardier. A robbery ! (^Pauline rises. Com- 
MissAiRE moves L.J 

Baptiste. Yes, Monsieur, Madame discovered 
it ; the Commissaire is here now. Natalie called me 
—I 

Levardier. (Enters through double doors. 
Baptiste follows hi^n, still talking) All right, 
don't chatter so. (^Baptiste exits, closing doors) 
What's this all about, Commissaire? What's hap- 
pened since I've been away? (Comes to c.) 

Commissaire. I've just been called in. Mon- 
sieur. 

Levardier. Well, what is it? What's it all 
about? ("Commissaire points to table) God Al- 
mighty, not those notes ! Pauline, you don't mean 

to tell me that ! (Goes up and takes up open 

drau'cr ) 

Pauline. (Horrified) Yes. 

Commissaire. They got ofif with them. Mon- 
sieur. 

Levardier. (Coming dozun) Man alive, do you 
know the amount? 



THE INTRUDER" 27 



ICoMMissAiRE. Yes, Monsieur. 
Levardier. 200,000 francs ! 
CoMMissAiRE. Yes, Monsieur. 
Levardier. But it's unthinkable ! — I must have 
some exceptional thieves watching me ! I leave 
my house for a few hours and they choose that 
particular moment out of all eternity to do this. 
(Throws drawer on to settee l.c.J And what are 
you fellovv^s doing? You police? Don't you know 
who the crooks of Paris are? Haven't you got any 
system? Why, damn it, I didn't know myself at 
'five o'clock yesterday afternoon that those notes 
would be in my possession at all. It only happened 
by the merest accident. And when they were here 
not a soul in the world could have known except 
my wife and a friend. What sort of thieves' kitchen 
am I living in ! Who's watching me ? Does the 
damned atmosphere rain thieves? Well, of all the 
cursed luck! (Crosses to PaulineJ You're not 
hurt ? 

Pauline. No. 

Commissaire. Make yourself easy, Monsieur. 
I think we're on his track. He left his footmarks 
in the snow. 

Levardier. (Back to c.) Well, are they being 
followed up? 

Commissaire. Yes, Monsieur. 
Levardier. Who discovered this? (Turns to 
Pauline J You ? 
Pauline. Yes. 

Commissaire. Madame Levardier w^as dis- 
turbed by the noise, and in four minutes we were 
in the house. You can't do it much quicker than 
that, Monsieur. 

Levardier. (To Pauline^ Weren't you asleep, 
then ? 

Pauline. Well, I hardly know. I suppose I 



28 "THE INTRUDER" 

must have been or I should have heard the noise 
sooner than I did. 

Levardier. I suppose you heard them going out ? 

Pauline. Yes, I suppose so. 

Levardier. Why the devil didn't you hear them 
coming in? But who in the name of damnation 
were they? (To CommissaireJ What about the 
servants ? 

CoMMissAiRE. Madame Levardier told me that 
the servants couldn't possibly have known that those 
notes were in the house. 

Levardier. No, no more they could. There's 
nothing else gone, I suppose? (Turns his back to 
audience) I see they left the piano. It seems to 
me they knew exactly what they wanted and where 
to find it, and they took it. This fairly beats me, 
Commissaire. I suppose they've collared the lot, 
envelope and all ? 

Commissaire. No, Monsieur, the envelope was 
left. 

Levardier. What! Then you've got the num- 
bers ? 

Commissaire. Yes, Monsieur. 

Levardier. Published them? 

Commissaire. Yes, Monsieur. 

Levardier. Well, you've been pretty sharp about 
it, Commissaire, I'll say that for you. 

Commissaire. Thank you, Monsieur. 

Levardier. But I don't understand about that 
envelope. Why leave the envelope with all the num- 
bers on it for us to publish? That's rather simple, 
ain't it? It doesn't seem to me to be like profes- 
sionals at all. 

Commissaire. It's my notion that the man was 
disturbed at his job. (^Pauline looks alarmed) He 
got flustered. 

Levardier. Oh, how do you get at that? 



"THE INTRUDER" 29 

COMMISSAIRE. From the marks — look. (Points 
at them c. Pauline moves to r. of them, and looks 
anxiously) 

Levardier. (Kneeling and examining them) Yes. 

CoMMissAiRE. One man, you see, only one. 
You see he came in by that window, he stood there 
for a moment, then went to the desk. Was evi- 
dently disturbed — and hid behind that portiere. 
(Indicates) Finally he came back, got what he 
wanted, and made his escape through the window. 

Levardier. (Thoughtfully) Yes, I see that. 
Look here, Commissaire, doesn't it seem to you that 
there's an impression of a smaller foot touching the 
larger 0':e? Smudged — that way — you see? You 
can see it distinctly just here. It looks as if it was 
done by someone coming from there — (Points down 
R.J — and going there. (Indicates double door h.) 

Pauline. (Quickly, and avoiding his eye) I 
must have crossed them when they were quite wet. 

Commissaire. Or they may be mine or yours. 

Levardier. (Rising) Just see if they continue 
on the other side of the door, f Commissaire exits 
through double doors) 

Levardier. (Moves to Pauline^ When did 
you cross those footprints — exactly when ? 

Pauline. It must have been directly after I 
heard the noise — when I came in here. 

Levardier. I see. And then you called Natalie. 

Pauline. Yes, then we telephoned at once. 
And then Natalie called Baptiste. And then a little 
time afterwards he came in with some coffee. 

Levardier. (Moving to l.c. and removing his 
coat) Well, he must be caught — if human ingenuity 
can do it. If he isn't, I'm done, finished. (Throws 
coat on settee l.c.J 

Pauline. But it isn't your fault, after all. 
(Moves down r.c.J 



30 "THE INTRUDER" 

Levardier. (Taking up drawer again) Not my 
fault? Then whose fault is it? If Tm not to blame, 
who is, I should like to know? Tm responsible. 
It's my fault that the notes were here in the house 
at all. And of course they never ought to have been 
here. If I'm fool enough to allow myself to be 
robbed, I suppose it's up to me, isn't it? Do you 
think I shall be able to say it was the cat? Of 
course it's my fault. (Crosses and goes up l.c. 
with drawer) But a man can't think of every- 
thing. One's head gets too full. Oie's expected to 
be a magistrate and a policeman and a human being 
and a night watchn^an. (Bangs drawer back in 
desk) That chap at Fontainebleau is dead. (Goes 

R.C.J 

Pauline. Dead? 

Levardter. Yes, and a good job, too. I wish 
I was dead when things like th's happen. fCoM- 
MissAiRE enters) Well ? 

Commissaire. (Coming dozvn l.c.J No tracks 
on that side of the door, Mcnsieur. ('Pauline 
shows great relief) 

Levardier. Oh ! 

Commissaire. I had a word v/ith the concierge. 

Levardier. Oh, you have, have yea? I was 
wondering when you were going to talk to him. 
Well, what's he got to say? 

CommissAire. Someone left the house this 
morning at a little after five. 

Levardier. Well, I don't know that that takes 
my breath away particularly. Why shouldn't some- 
one leave the house at a little after five? 

Commissaire. It's only important because that 
must have been about the time that the burglary 
was committed. 

Levardier. Yes, I see.. Well, who was it ? Does 
the concierge know ? 



'THE INTRUDER" 31 

CoMMissAiRE. He pulled the door cord in the 
usual way from his bed. He actually saw no one. 

Pauline. Tt must have heen the engineer up- 
stairs. He often goes out early. 

Levardier. Does he? You're very well in- 
formed. 

Pauline. You must often have heard him your- 
self. (Re-enter First Agent of Police. He 
comes down betzveen Levardier and the Commis- 
saireJ 

Com Miss AIRE. Well ? 

i'^iRST Agent. The footprints lead through the 
Rue Royale to the Ouai d'Orsay — to the neighbor- 
hood of the railway terminus. 

CoMMissAiRE. Did you lose them there? 

Agent. The morning traffic thereabouts was a 
bit too thick. 

COMMISSAIRE. You didn't come up to your man? 

Agent. There's two of them. 

Levardier and Commissairf,. Tw^o! 

Agent. (To Levardier ) -Yes, Monsieur. (To 
CommissaireJ There's tv/o, s^ts of footmarks, side 
by side, right away up to the Qriai d'Orsay, like as 
if two n^xCn were walking together. One's a small 
foot — looks like a gentleman's boot — -aind the oth- 
er's a bit bigger — m.igbt have been Y\^orn, by a work- 
ing man perhaps. A bit rouglier thaniillW'iOther. 
The big one starts right away from undeniefttfelttie 
window there, and the little one right m AimMvjp^ 
the street door. Then, they join, up imth^. on. 
And now it's started to snow again., (Pq^mgi^-:^ ^/^i 

Commissaire. All right, that'll :do: -f i^AlSTT 
exits) :■.■■■■■'■! ■:, ^■}.h\ ^s\ 

Levardier. Two of them! .-->>; ht^^) ^n 

Commissaire. One inside and one 6u1;— wott- 
ing together. 



2,2 "THE INTRUDER" 

Levardier. (Crossing down r. slozvly) Yes, 
it's funny about those footmarks. (Looking at 
them) In fact, it's a damn funny business alto- 
gether. (Exits down r.) 

Pauline. Then on the whole, Commissaire, you 
think an arrest likely? 

Commissaire. I can't say, but there's something 
to go on. We don't always have that. 

Pauline. No, I suppose not. Thank you very 
much for all you've done for us. You've been very 
kind. 

Levardier. (Re-entering and moving to c.) All 
right, Commissaire, that'll do. I shall be round at 
the Department in about ten minutes and I shall 
have some directions to give you. 

Commissaire. Yes, Monsieur. (Goes np to 
double doors, turns, bozvs to Pauline, takes up his 
hat and says) Good morning, Madame. 

Pauline. Good morning, and thank you very 
much. 

Commissaire. (Bozvs and says) Monsieur. 
(^Levardier bows and Commissaire exits) 

Levardier. (After a pause, takes a step to her) 
When did you say our friend George returns from 
Brussels ? 

Pauline. (Avoiding his eye) I think he comes 
back to-morrow. Why? 

Levardier. I merely wanted to know. (Pause) 
Hadn't you better dress? Or perhaps you'd rather 
go back to bed? 

Pauline. Yes, of course. (Exits slowly down 
R., closing door after her. Levardier watches her, 
then turns and faces audience. At the same time 
he takes George's watch from his pocket, holds it 
up and exam^ines it, then turns and looks at door 
dozrni R.) 

SLOW CURTAIN 



ACT II 

Scene: Guerand's apartment in Paris. Double 
doors c. Windozvs l.c. Fireplace r. Door r. 
Writing table l.c. Armchair l. of table. Small 
chair r. of table. Settee r.cJ 

DISCOVERED: When curtain rises, double doors 
are open and stage is empty.. George Guerand 
enters up r., wearing an overcoat and carrying 
a suitcase, which he puts down at head of settee. 
Crosses to double doors and calls "Francois." 
Goes back to head of settee r.c. and starts to 
remove his coat and gloves. As Francois en- 
ters c. from l. coming dozvn l.c. 

Francois. Good morning, Monsieur! I hope 
you've had a pleasant journey, Monsieur? 

George. No, I'm hanged if I did. They keep 
those trains so infernally hot. Has anyone called 
while IVe been away? (Gives hat and coat to 
FrancoisJ 

Francois. No, Monsieur! 

George. Where are my letters ? 

Francois. On the writing-table, Monsieur. 

George. (Crossing to table) All right. You 
might let me have some coffee. 

Francois. Yes, Monsieur. I had it in readiness 
for you. 

George. Excellent person, you remember every- 
thing. That bilge- water they give you on the trains 
isn't fit for cattle. 

33 



34 



"THE INTRUDER" 



Francois. No, Monsieur. (Exits through 
double doors to l.^ carrying suitcase, hat and coat, 
George sits at desk l.c, takes up telephone re- 
ceiver) 

George. Give me 20-1144. Hello, is that M. 
Forquet's office? I want to speak with M. For- 
quet. . . . I can't help that, I want to speak to M. 
Forquet, himself . . . hello . . . hello, is that you, 
Forquet ? Fm Guerand. Forquet, I can't raise that 
money, I can only scrape together 20,000 francs 
and I tried every blessed soul I could think of. . . . 
Money's tight in Brussels, too . . . you know what 
a pot of money Fve dropped in the last week or 
two. . . . Oh ! Don't bleed me to death, damn 
you. . . . No, only the balance, you shall have the 
20,000 francs, all right, I knew you would. Fll 
bring . . . (^Francois enters from c./ carrying tray. 
George looks up, sees him, then speaks in tele- 
phone) Fll send Francois around with it at once. 
^Francois places tray on up stage end of desk. 
George still at telephone) Who's Francois? He's 
my nurse. (Looks at Francois, zvho smiles and 
pours out coffee) Trust him? Of course, I can 
trust him. He nursed my father before me. . . . 
All right, good-bye. f Hangs up receiver. Sips at 
coffee) Not much luck in Brussels, Francois. No 
one's got any money in this beast of a world, and I 
suppose in the next we sha'n't want any— we shall 
move harps and guitars and do fox-trots and go to 
the movies — damned awful to be poor, isn't it, Fran- 
cois? 

Francois. Fm told so. Monsieur. Can I be of 
any assistance to you. Monsieur? 

George. Well, I don't know, Fm sure. . . . 
50,000 francs? (Continues to write) 

Francois. I couldn't run to that, Mon- 
sieur. 



"THE INTRUDER" 35 

George. No more can I, Frangois. 50,000 was 
all I needed and I could only raise twenty. 

Francois. That's a lot of money, Monsieur. 

Qeorge. (Taking out' envelope and addressing 
it) It's a hell of a lot of money, Frangois, if you 
haven't got it. I wonder if I could rob a bank? 
Did you ever rob a bank, Frangois? (Takes out 
20,000 francs from wallet and places them in en- 
velope) 

Francois. (Smiling) Not yet. Monsieur. 

George. Well ! I wish you'd begin, then you 
might be of some use to me. Seriously, Frangois, 
if I can't raise 50,000 francs, I shall have to give 
you the sack. 

Francois. (Greatly surprised) You don't mean 
that, Monsieur? 

George. Yes, Frangois, I do mean it. I'm going 
to dismiss you with about the best character a mas- 
ter ever gave a man. 

Francoi^. I don't understand. Monsieur? 

George. A bankrupt can't afford the luxury of 
your society. . . . Now do you understand? 

Francois. Yes, Monsieur, and I very much re- 
gret it. 

George. So do I, Frangois. If there is a thing 
I detest, it's having to brush my own trousers, but 
probably I sha'n't have rny to brush soon . . . but 
there's one thing you can do for me . . . you can 
take this around to M. Forquet and tell him . . . 
(Bell rings off stage r. Francois exits r. George 
rises and comes lO l.c. Francois re-enters) 

Francois. There's a lady to see you, Monsieur. 

George. Please take these things away. (^Fran- 
cois takes tray, Francois exits through double 
doors L. George and Pauline meet c.) 

George. Pauline ! What is it ... is there any- 
thing the matter? 



36 "THE INTRUDER" 

Pauline. (Greatly agitated) Haven't you seen 
the papers? 

George. No. I've only this second got back 
from Brussels. 

Pauline. George, weVe been robbed . . . yes- 
terday . . . just after you left . . . while you were 
there, perhaps. 

George. What! (Goes up and closes double 
doors, coming back if o Pauline J Pauline! What 
are you saying? 

Pauline. Those notes, you remember, Rene 
locked them up in front of us, while you were 
there. 

George. Well ? 

Pauline. As soon as I came back into the room 
after I heard the front door close behind you, I saw 
. . . the place had been ransacked, rifled — Rene's 
desk was broken open and the notes had gone . . . 
everything gone. Of course, the police had been 
there. I telephoned, I was compelled to, at once, 
and we've all been questioned ... I and the ser- 
vants, both of them. . . . I've been cross-examined 
as if I were a thief. They searched everywhere 
and examined everything. Oh ! My God, suppose 
they found some trace of you ! 

George. Yes, but have they ? They couldn't ! 

Pauline. I don't know, I'm sure, but there's 
something wrong. I came to tell you. 

George. But do you — do you think Rene sus- 
pects anything between you and me ? That's much 
more important than ... 

Pauline. I don't know — I don't know what's in 
his mind — something is. He terrifies me, he's al- 
tered, he's quite different. George, suppose they — 
suppose they heard us? 

George. Who, the thieves? They couldn't have 
- — we didn't hear them. 



"THE INTRUDER" 37 

Pauline. I've been as careful as I could. Of 
course, I was taken by surprise and perhaps I said 
something — I don't know— I may have been over- 
careful, perhaps. I may have awakened suspicion 
without intending it. Rene's as vigilant — he came 
back in the middle of it all, and, of course, he's 
dreadfully upset. The Commissaire was there ask- 
ing me questions when he came in ; they noticed 
every little thing — the muddy marks on the floor 
and the footprints, the footprints in the snow 
around the house outside. They had the footprints 
followed, they traced them through the Rue Royale, 
and, of course, I said you left at twelve o'clock. 

George. Yes. 

Pauline. So perhaps they won't connect the 
footprints with you. 

George. No, of course not — why should they? 

Pauline. But suppose they do — suppose they 
do? 

George. Dear girl, pull yourself together, you're 
trembling like a leaf. 

Pauline. I'm utterly unstrung. 

George. Of course you are. Everything al- 
ways seems at its worst in the morning — I feel like 
a rag myself. 

Pauline. (Crosses to r. of table l.c.J Oh, why 
did I beg you to stay, why? Why, George, Rene's 
immersed in this ! Immersed ! 

George. Well, that's quite natural enough. 

Pauline. Yes, but he's so quiet. Unnaturally 
quiet, in a way that isn't like him. 

George. He's hard hit. He's responsible for 
200,000 francs. 

Pauline. Yes, but there's something beyond 
that ... I can feel it. It's atmospheric — he's sus- 
picious — he's hunting — hunting — (Crosses to settee 
R.c.j — he reminds me of a bloodhound — a hungry. 



58 "THE INTRUDER" 

well-trained bloodhound. Oh, my God ! (Leans 
against settee) 

George. Dear girl, sit down ! (Helps her to sit, 
she places her muff beside her) 

Pauline. He's made me feel since yesterday 
that he's capable of anything. If you'd seen the 
expression on his face when he asked me how soon 
you'd be back from Brussels. 

George. Oh! He's inquired about me, then? 

Pauline. Yes. 

George. What did he say? 

Pauline. Oh ! Only that — but it was the way 
he said it. 

George. How did he say it? I wonder what 
put me into his head ? 

Pauline. I don't know, but I'm certain he sus- 
pects. (Pause. He goes above settee and down r.) 

George. Well, I'm ready for him! 

Pauline. Oh, you're so diflferent ! Half of you 
IS poet and the other half is ... I don't know . . . 
but Rene's three-quarters detective and the other 
half is judge, unbending, unmerciful judge! 

George. Well! I've not been particularly mer- 
ciful to him, have I? 

Pauline. Don't ! 

George. Let's call things by their right names. 
(Sits beside her) We've always been honest with 
each other, as far as we could. I've done him the 
greatest wrong one man can do a-^other. 

Pauline. I know, and think what I have done. 

George. We met too late, he got you before I 
did, and then this began. (Kisses her hand — she 
strokes his hair) 

Pauline. George ! I want you to destroy all 
my photographs — will you ? All of them that you'v^ 

got— that one (Glances at photographs on desk 

L.C.J And my letters. Now, dear, at once — don't 



"THE INTRUDER'^ 3^ 

leave a trace of anything that could connect you 
with me. I'm frightened. At a word from Reiie' 
your place could be searched, through and through. 
Remember what he is. Remember what an awful 
thing the law is ! 

George. The other night Rene called the law an 
ass. ■ ■-. 

Pauline. So it may be, when one is outside it, 
but a jealous husband and examining magistrate ..'. 

George. Yes, Ell burn everything. 

Pauline. I hate asking you to do it— but you 
understand, dear, don't you? 

George. Of course, you're right. (Rises and 
goes to L.C.J I can't take it in quite yet. It's an 
awful thing, this . . . awful. 

Pauline. (Rising) Dearest, I ought to gb. 
Coming here at all was risky. Can you tell me the 
time? 

George. I left my watch Tiere yesterday when I 
rushed off to Brussc'ls. (Goes tip to c. doors, opens 
them and calls) Erargois, bring my watch here. 
(To Pauline J It's quite early, I don't think the" 
Brussels train was late. It must be about ten. 

Pauline. Not more tha^^ te^^ ? 

George. No, I've been back about twenty min- 
utes. (Comes down. Erancots enters down c.) 
What's the time, Erangois? 

Erancois. Twenty minutes past ten, Monsieur. 

(c.) ^: 

George. Thanks. Have you got my watch? 

Erancois. You left your watch at M. Levard- 
ier's. Monsieur. 

George. What! I left it here yesterday, you 
duffer, when I went off to Brussels. 

Erancois. I think not. Monsieur. M. Levardier 
sent this man around to say that your watch was 
at his house when you required it. 



40 "THE INTRUDER" 

George. Oh, all right. Yes, I remember . . . 
that'll do. ("Francois exits c. to h., closing doors 
behind him. Pause, George crosses to her) Then 
what youVe been saying is true. Rene knows. 

Pauline. Yes. 

George. Of course, this explains everything; he 
knows. 

Pauline. I knew he did, I knew! (Crosses to 
L.c. and sits) 

George. Wait a moment, where did I leave it? 

Pauline. Doesn't Rene's message tell you? 

George. Pm not sure. It was quite natural to 
let me know, after all. I can't remember leaving 

it anywhere. It's just possible that I (Crosses 

to L.J Didn't we look up trains? Yes, we did. 
I may have taken it out then. Was I wearing a 
fob, do you remember ? 

Pauline. I don't remember. But, don't you 
see? This message is Rene's method. He chooses 
that way of telling you, because he's subtle — he likes 
twisting the knife. It's Rene, Rene all over. If 
he'd only come to you like a man, but he prefers 
slow poison, he likes torturing people. Isn't it just 
what he was saying the other night ? 

George. And I thought he suspected then? 

Pauline. But now I see the meaning of those 
quiet sardonic smiles and those questions about you. 
(She sobs. Pause. He comes to r. of her and paci- 
fies her. Recovering herself, she goes on) Well, 
that's the end of it . . . I'm branded now ... he 
knows and somehow he'll make me pay. 

George. Well, what I shall do is this. I shall 
rneet Rene absolutely naturally as if nothing what- 
ever has happened, and if we find out he really 
knows . . . 
^.Pauline. Well? 

George. Then, no more lies. Face it out with 



"THE INTRUDER" 41 

me — face it out with me. (Kneels beside her) Will 
you do that, Pauline — will you do that, Pauline? 
(She looks out front) 

Pauline. (Turning to him, having made up her 
mind) Yes. 

George. (Kisses her hand and, after a pause, 
raises her to her feet) Pauline, you're fine ! (She 
crosses to settee r.c. and picks up her muff. He 
crosses and takes her in his arms) I love you — I 
love you and I'll do anything I can to prove it. 
(They embrace. He crosses to door r.^ opens it. 
Pauline exits, he follows her. Slight pause. The 
outer door is heard to slam, off stage. George re- 
enters, closes door behind him. Crosses l. behind 
table, takes Pauline's photograph out of frame, 
reluctantly tears it up, then takes keys from pocket, 
opens down-stage bottom drawer, takes out letters, 
ivhich he tears up, holding them in his hands, moves 
toward c. zvhen bell rings. Francois enters through 
double doors and goes off r. George crosses to fire- 
place and burns letters. Francois re-enters) 

Francois. There's a gentleman at the door, 
Monsieur, asking to see you. 

George. Who is he? 

Francois. He gave no name. Monsieur, but he 
said it was important. 

George. Show him in. (^George crosses back to 
L. of table. Francois re-enters, showing on 
Stranger from Act I. Francois exits through 
double doors to l. Stranger comes to c.) 

Stranger. May I ask if we can be overheard 
here ? 

George. No, no one can overhear. 

Stranger. (Indicating doors) Would you be 
kind enough to close those doors? My business is 
private and confidential. 

George. (Goes up and closes doors) Now, may 



42 "THE INTRUDER" 

I ask what your business is? (Goes back to l. of 
table and sits) 

Stranger. I'll come straight to the point. You 
may possibly know that a burglary was committed 
yesterday morning, at the house of M. Levardier? 

George. So I understand. 

Stranger. You're a great friend of M. Levard- 
ier and of his wife, Madame Levardier. Madame 
Levardier, in fact, left this house a few moments 
ago. 

George. Will you be good enough to tell me 
who you are and what the devil you're insinuating? 

Stranger. By all means. I'm here to speak 
plainly, as plainly in fact as any man can speak to 
another. (Places hat on table and sits r. of it) I 
am the — individual who committed the crime. 

George. Indeed ! I imagine you are in full pos- 
session of your wits. 

Stranger. I see you have a sense of humor. 

George. I'll do my best to make it quite clear. 
(Takes lip receiver of telephone. In telephone) 
Can you tell me the number of the nearest police 
station ? 

Stranger. (Quite calmly) 14-7231. 

George. I'm much obliged to you. 

Stranger. Not at all. 

George. (Still holding receiver) Can you sug- 
gest any reason why I shouldn't make use of it? 

Stranger. I can suggest several, if you will do 
me the favor to listen to them. 

George. (In telephone) Never mind. (Puts 
receiver back. To Stranger^ I will do you the 
favor to bestow just sixty seconds upon you and 
your affairs. 

Stranger. I think that will be ample. It would 
take me far less time than that, for example, to in- 
form your friends — (Indicating phone) — the police,. 



"THE INTRUDER" 43 

that it was you, who made it possible for me to enter 
M. Levardier's house. (Looks squarely at George^ 
You see, it so happened that we were there at the 
same time, each of us, I take it for purely illegal 
purposes^ — our purposes, if I may say so, to prove 
with what consummate ease the human animal may 
achieve its dubious ends. You, for example, were 
occupied with the breach of one commandment, 
while I was occupied with the breach of another 
. . . the sixty seconds I fancy must be about up. 

George. I see. Is that all? (^Stranger hows 
politely) Blackmail! (^Stranger rises and moves 
to c. a little) 

Stranger. Do names matter ? A rose by any 
other name would smell as sweet. 

George. You scoundrel ! 

Stranger. Scoundrel? (Crossing above chair 
to table) You prefer plain speech? Very well, you 
shall have it. I was hidden in the room at five 
o'clock yesterday morning, when you were making 
your very poetic adieu. 

George. Oh ! 

Stranger. (Imitating his tone ) Yes. 

George. I see. 

Stranger. Umph ! (Slight pause) 

George. Well, what's your price? 

Stranger. (Very satisfied) Ah! 

George. (Opening upstage draiver of table) 
At once. My revolver is under my hand. 

Stranger. Quite so, mine is in my hand. 
(Takes out revolver and moves to r. of table) 
Now, then, a little farther from that table, do you 
hear me? (^George does so) Thank you. I have 
called upon you, M. Guerand, because I find it ex- 
tremely difficult to make use of these notes — (pro- 
duces them) — particularly since the numbers have 
been published. They are of no use to me, but 



44 "THE INTRUDER" 

after some reflection, it occurred to me that noth- 
ing in this world, perhaps, would give you greater 
pleasure than to be able to post them back to M. 
Levardier, from the nearest letter-box — anony- 
mously, of course. He'll never know or suspect the 
identity of the sender. Putting myself in your po- 
sition, I argued that that is what I myself should 
desire. It would nullify a number of exceedingly 
awkward questions, and I have very little doubt but 
that Madame Levardier would be of practically the 
same opinion. Proceeding upon that hypothesis, I 
have done myself the honor of presenting myself to 
you with what seems to me to be the key to your 
situation. 

George. The weak point in your argument is 
the fact that you will probably continue to pre- 
sent yourself to me, from time to time, pro- 
vided I do business. On the whole, I think I 
prefer one of your extremely serviceable cart- 
ridges. 

Stranger. Unfortunately, my revolver is not 
loaded — f George makes a movement as though to 
get his revolver) — probably yours is. I keep it 
mainly for effect, it seldom fails (Replaces re- 
volver in pocket) With regard to my further visits, 
I hardly know what to say. 

George. Will you be good enough to tell me who 
the devil you are? 

Stranger. Does it matter? I was a gentleman 
once, but, of course, one outgrows those natural 
handicaps and as you know, from 

George. What's your price? 

Stranger. 50,000 francs. 

George. Twenty. 

Stranger. Fifty. 

George. Twenty. To be quite frank with you, 
that's all I have. 



"THE INTRUDER" 45 

Stranger. That being the case, I'll not be out- 
done in generosity. Til accept. 

George. And proof — absolute proof that you 
were in Levardier's house. 

Stranger. Certainly. Proof to the tune of two 
hundred thousand francs. 

George. No, I want proof that you were the 
man who took them and how you knew that they 
were there. 

Stranger. My dear friend, that's my business. 
I know my business like any other professional man. 
I never lost track of those notes from the time they 
were first stolen, but don't ask me for the details of 
my craft. You wouldn't ask a doctor, you wouldn't 
ask a lawyer, you wouldn't even ask a clergyman. 
There are certain things we mmst take for granted 
— what else will you accept as proof? 

George. That's up to you, I want proof. 

Stranger. Something you said ? 

George. Something I said — if I recognize it. 

Stranger. (After a pause) 'There's a little 
dancing devil in your eyes, Pauline!" f George 
nods) I thought that quite charming. How I 
should like to make use of it myself ! 

George. I deny your implication absolutely. Do 
you understand — absolutely ! 

Stranger. Certainly. Placed in your position, 
I would do the same thing — one never gives a 
woman away. 

George. If I do business with you, it's only to 
restore the notes to M. Levardier. 

Stranger. Quite so — quite so. I feel in a sense 
that we're quite old friends. 

George. Fortunately that is a delusion on your 
part. 

Stranger. (As George takes notes from en- 
velope) Well, there is one bond; we are both 



46 "THE INTRUDER" 

thieves, and there's a certain freemasonry in crime, 
when all is said and done — perhaps you don't feel 
it? 

George. Not yet. 

Stranger. (Shrugging his shoulders ) Very 
well. 

George. (Holding notes out) 20,000 francs. 

Stranger. (Also holding out his notes) 200,000 
francs. (They exchange bundles) 

George. Are they all here? 

Stranger. Oh, Monsieur ! (As the Stranger 
is about to put George's notes in his pocket) 

George. You had better count them. 

Stranger. I'll take your word for it. (Places 
them in his pocket) I little thought when I st — 
appropriated those notes, that I should be glad to 
sell them again for twenty. I blame those trains 
from Fontai'^ebleau. I think you'll agree with me. 
Monsieur Guerand, that those early morning trains 
quite spoilt our night out. 

George. I think our busi*^ess is concluded. 
/^Stranger starts to move towards door r.J Just 
a moment. (Takes envelope from drawer and puts 
notes in, then crosses back to table. Stranger stops 
and turns to him) I will ask you to kindly address 
this envelope to M. Rene Levardier. (Hands him 
pen. Looks at him) He knows my hand-writ- 
ing. 

Stranger. Those in authority may know mine. 
However, I have more than one. (Sits at table 
and writes) 

George. (Dictating — going to above table) M. 
Rene Levardier, Rue St. Honore 

Stranger. (Quickly) Number nine. I know 
the address. Shall I drop it in the nearest letter- 
box? 

George. No, thank you. I'll attend to that my- 



"THE INTRUDER" 47 

self, you may forget it and I can't afford to buy 
those notes back twice. 

Stranger. (Dropping envelope at upstage end 
of table and rising) Monsieur, I may be a thief, 
but I am a man of honor ! 

George. Well, Tm sorry Tm unable to provide 
you with any further entertainment. (Slight pause) 
And, as you have just remarked, I think our busi- 
ness is concluded. (Goes to door r. and opens it. 
Stranger crosses to l. of him) 

Stranger. Do you know, I like you so much 
that I feel tempted to offer you my hand? 

George. I must regretfully deny myself the 
pleasure of accepting it. 

Stranger. A palpable hit. If I may venture 
one more remark, Fm not surprised that the women 
like you — I like you myself and I only regret that 
circumstances compel me to take you at a disadvan- 
tage — as far as I'm concerned, I thir k you're charm- 
ing — charming. (Exits. George zvatches him off 
and closes door behind him, th^n crosses back to 
L.c. Francois enters with small coffee tray, crosses 
and places it at head of table, unconsciously cover- 
ing envelope the Stranger has placed there) 

Francois. You hardly touched your breakfast. 
Monsieur, so I've made you some more coffee. 
(Door-bell rings. Stranger enters hurriedly) 

Stranger. The Commissaire of Police ! 

George. The Police! f Francois crosses and 
exits R.) 

Stranger. (Looking around and catching sight 
of double doors) Is that a bedroom? 

George. Yes. (^Stranger motions George fo be 
silent and exits through double^ doors to l. All this 
is done very quickly. Francois enters immediately, 
leaving door open, moving to c. in great alarm) 

Francois. Monsieur, the police! The police! 



48 "THE INTRUDER" 

George. (Crossing and closing door R.J I want 
that letter posted. That one on the writing table! 
(^Francois crosses to behind table and picks up the 
one addressed to M. Forqitet) Get outside and post 
it in the nearest letter box. Tell any sort of a lie 
but get out and post it. Put it inside your coat ! 
(^Francois does so and moves over to r.c. George 
moves down r. The Commissaire enters quickly, 
followed by two Agents of Police. First Agent 
stands r. of double doors. Second Agent stands 
below door r.) 

Commissaire. (To FrancoisJ What do you 
mean by keeping me waiting? (Turning to George J 
Monsieur George Guerand? 

George. That is my name. 

Commissaire. Pm instructed to examine you 
in reference to a burglary committed at the house 
of M. Levardier yesterday morning. 

George. Is the presence of my servant neces- 
sary ? 

Commissaire. He may remain within call. 
(^Francois exits r.) 

George. And now may I ask you to explain the 
meaning of this intrusion? What is your author- 
ity? 

Commissaire. Pm here for the purpose of mak- 
ing that clear to you. We are informed that you 
dined at M. Levardier's house the night before last. 

George. Well ? 

Commissaire. At what time did you leave the 
house ? 

George. Twelve o'clock — midnight. 

Commissaire. And you returned to your flat? 

George. I did. 

Commissaire. I understand that yesterday you 
went to Brussels? 

George. Yes. 



*THE INTRUDER" 49 

GoMMissAiRE. What was the object of your 
journey to Brussels? 

George.' Private business. 

CoMMissAiRE. I must ask you to tell me of what 
nature ? 

George. Of a financial nature. 

CoMMissAiRE. You are in financial difficulties? 

George. I am. 

CoMMissAiRE. And your journey to Brussels 
was undertaken with the object of raising money 
there ? 

George. (After a slight pause) Yes, it was. 

CoMMissAiRE. What means did you take to do 
so? 

George. I decline to answer any question you 
put. Such a question as that is entirely outside your 
province. 

Commissaire. (Sternly) I am acting under in- 
structions, M. Guerand. The question you object 
to was put to you on the supposition that your 
journey to Brussels was connected with the sale of 
those stolen notes. 

George. (Amazed) What! (Crosses angrily 
to Commissaire^ Then I deny it — deny it — abso- 
lutely. 

Commissaire. You were aware that those notes 
were in the possession of M. Levardier? 

George. Well, what of it? 

Commissaire. You knew them to be deposited 
in a certain desk in M. Levardier's house? 

George. Certainly. M. Levardier turned the 
key on them in my presence. 

Commissaire. Quite so. Well, M. Guerand, it 
is known that the thief entered by the window and 
made straight for the desk — that can be proven. It 
follows that the thief must have been aware, not 
only of the existence of these notes but where they 



so 



'THE INTRUDER" 



were to be found. These facts were known only to 
M. Levardier, Madame Levardier and to yourself. 
It follows that the thief , whoever he was, must have 
had some accomplice in the house. 

George. (Heatedly) What the devil are you 
insinuating? Do you suggest that I took those 
notes ? 

CoMMissAiRE. My business is not to insinuate, 
but to examine. (Slight pause) 

George. Well! (Moves a little to r./ 

CoMMissAiRE. How did you leave M. Levard- 
ier's house? 

George. By the door, of course. 

CoMMissAiRE. And as you went out, did you 
open the door for yourself ? 

George. I asked the concierge to pull the cord, 
in the usual way. 

CoMMissAiRE. At twelve o'clock? 

George. At twelve o'clock. 

CoMMissAiRE. The concierge denies that any 
such request was made until a little after five o'clock 
in the morning. 

George. Then the concierge is a damned liar. 

CoMMissAiRE. He asserts that no one left the 
house until a few minutes after five. 

George. And I swear I left it at twelve ! 

COMMISSAIRE. Did you come home at once upon 
leaving M. Levardier's? 

George. Yes. (^Francois has entered on 
George's last speech and is moving toward double 
doors, when the Commissaire turns and says) 

COMMISSAIRE. Come here. ^Francois comes 
down to R. of Commissaire hesitatingly ) At what 
time did M. Guerand return home on the night pre- 
ceding his departure for Brussels ? (^Francois hesi- 
tates and looks at Guerand. Turning to Francois 
to face him) Answer my question ! At what time 



"THE INTRUDER" 51 

did he return home? (^Francois still hesitates) 
Answer me ! 

Francois. (Slowly) He came in about six, 
Monsieur. 

CoMMissAiRE. (Looks interrogatively at George, 
zvho moves azvay to r., then speaks to Francois^ 
Very well, you may go. (^Francois exits c. to r.) 
Footsteps have been traced in the snow, M. Gue- 
rand. The footprints of two persons walking side 
by side, leading away from M. Levardier's house. 
These footsteps were clear and definite and they 
were fresh at a little after five yesterday morning. 

George. But — the thing is impossible ! 

Commissaire. I shall be compelled to make an 
examination of your private papers. I must ask 
you to be good enough to give me your keys. 
/^George hesitates) Come, row ! (^George moves 
over to him, and hands him. keys, then moves back 
to fireplace. Commissaire crosses to behind writ- 
ing table and examines it. Commissaire to First 
Agent of Police^ Pierre, examine the apartment ! 
(^Commissaire opens top drawer and sees George's 
revolver; he lifts it np and looks significantly at 
George, then replaces it. He examines the zvallet 
and opens another drawer. Moves slightly various 
articles on the table until his eye falls on the coffee 
tray, which he moves slowly to one side, disclosing 
the Levadier envelope. During this business 
George has taken out his cigarette-case and is about 
to light a cigarette, when the Commissaire speaks) 
I see there is an envelope here, addressed to M. 
Levardier. 

George. (Throws match into fireplace and turn- 
ing around as though struck) What! 

Commissaire. This envelope is addressed to M. 
Levardier. (^George rushes up and pulls bell-cord) 
What are you doing? 



52 



"THE INTRUDER" 



George. (Moving quickly to c, greatly excited) 
That document is absolutely private. I forbid you 
to touch it! ("Francois enters and comes down r. 
of George, who turns to him) Who was that letter 
addressed to, that I gave you to post ? 

Francois. M. Forquet. 

George. My God! 

CoMMissAiRE. That will do. ("Francois exits 
c. to R.) 

George. (Going quickly to table, and moving 
chair as he does so) That is a private letter. What 
sum will you take to leave it unopened? It con- 
cerns a woman ! What will you take to leave it un- 
opened — to burn it? — I'll give you any sum, any- 
thing — name your own price — 5,000 francs — 10,000 
francs — name it, name it — name it ! (During this, 
the CoMMissAiRE has taken the envelope on which 
are the numbers, and is comparing them with some 
of the notes he has taken from the other envelope) 

CoMMissAiRE. (Triumphantly) You have named 
it, M. Guerand; you are my price. (Slight pause) 
M. Guerand, you are under arrest. ("Second Agent 
OF Police opens door r. and stands by it. First 
Agent enters through double doors, follozved by 
the Stranger. Agent remains up r.c. Stranger 
coming down c.) 

Stranger. Why, what's the meaning of this? 

Commissaire. (To AgentJ Where did you 
find this man ? 

Agent. (Indicating) In that room. 

Commissaire. What are you doing here? (To 
StrangerJ 

Stranger. (Indignantly) I'm a friend of ?\[. 
Guerand. (Then, calmly, turns to George J What's 
the matter, George, things look unpleasant. 

Commissaire. M. Guerand is under arrest. 

Stranger. Under arrest? What for? 



"THE INTRUDER" 53 

Cr^^rMTSSAIRE. A theft. 

Stranger. Nonsense. M. Guerand is not a 
thief, he's a personal friend of mine. There's some 
mistake. I k*^ow M. Guerand is not a thief. No 
one could know it better. 

CoMMissAiRE. But that proves nothing, Mon- 
sieur. 

Stranger. Don't be in quite such a hurry. 
W^hat are you supposed to have stolen, George? 

George. (With meaning) Ba^k notes ! 

Stranger. Bank notes! Ridiculous! You 
couldn't do it ! Good Lord, what fools these police- 
men are! (Crosses to table) Aren't you fools? 

Commissaire. (Indignantly) Monsieur ! 

Stranger. Well, you do::'t know your ow^n busi- 
ness. You might as well say you know mine. You 
think because the State employs you that you're 
cleverer than other men. All State officials do think 
that, but Fm prepared to bet you whatever you like, 
that you're on the wrong track now. (To GeorgeJ 
Don't you worry, George, I'll keep a fatherly eye on 
you. I'd come to court wath you, if I could, but I'm 
about to catch a train — (Looks meaningly at 
George j — to Fontainebleau, but if you are not here 
when I return, I'll blow up the Police Department 
and every magistrate in it. Leave it to me, George. 
Now, my dear boy, don't worry, never worry, there 
is nothing on earth to w^orry about. Look on this 
thing as a joke. (Moves up to front of George, 
then to door r. when Commissaire says) 

Commissaire. Stop that man ! f Second Agent 
steps in front of door) 

Stranger. (Greatly indignant and coming dozim 
again) Why! What does this mean? 

Commissaire. I must hold you for examination. 

Stranger. Exam.ination ! Me? George, tell 
them who I am, tell them that I'm a friend of yours, 



54 "THE INTRUDER" 

tell them I know nothing of this affair. (Looks 
squarely at George, who meets his eye) 

George. (After a moment's pause) This gen- 
tleman is a friend. He knows nothing about this at 
all. 

CoMMissAiRE. Very well, you may go. 
(^Stranger moves up r. and after a slight pause 
turns to George and comes back to him) 

Stranger. How about money, George? 

George. I have no money. 

Stranger. That's too bad. I can't leave you in 
a hole like this. By the most extraordinary coin- 
cidence, I happen to have 20,000 francs. Here you 
are, George! (Gives them to him) You may want 
it. I'm sure the police will find out their ridiculous 
mistake. (Slight pause) Shake hands. T George 
does so) Now, let me see you smile. (^George 
smiles) That's better. I like you when you smile. 
"There's a great little dancing devil in your eyes.'* 
(Moves to door r.) 

QUICK CURTAIN 



ACT III 

Scene : Levardier's ojfice in the law courts. 
Doors R. and l. Window up l.c. and r.c. 
There is an armchair r.c. and a large desk c. 
Chair l. of desk and a swivel armchair behind 
it, Levardier is seated at desk zvriting. He 
rings a bell which is on his r. First Clerk 
enters, carrying papers and comes towards desk, 

Levardier. Has a lady asked for me this morn- 
ing? Has a lady called here? 

Clerk. No, Monsieur. 

Levardier. Tm expecting a lady to call. When 
she comes ask her to wait. 

Clerk. Yes, Monsieur. 

Levardier. Is Commissaire Robert back yet? 

Clerk. No, Monsieur. 

Levardier. \\ hat about the Brussels train ? Did 
you find out if it came in on time this morning? 

Clerk. It arrived punctually, Monsieur. (He 
hands Levardier a paper) '■" 

Levardier. What's this? 

Clerk. Copy of the charge in the Poularde case, 
Monsieur. 

Levardier. Has the President of the Court Had 
a copy ? 

Clerk. Yes, Monsieur. But you omitted the 
formal indictment. 

Levardier. Did I ? (Searches among his pa- 
pers and hands one to the ClerkJ There you are. 

55 



56 "THE INTRUDER" 

You'd better see the President of the Court. Give 
him my compHments and say that if there are any 
further developments in the case to please let me 
know. 

Clerk. Yes, Monsieur. 

Levardier. Say I will be here all afternoon 
awaiting some word from him. 

Clerk. Yes, Monsieur. " (Exits. Levardier 
rises thoughtfully and moves down to l.c. There 
is a knock on the door) 

Levardier. Come in! f Second Clerk enters) 
Well? 

Clerk. (Corning forzuard) No reply has come 
through from London or Brussels at present, Mon- 
sieur. 

Levardier. The numbers of the notes have been 
published. I've seen them myself. Are they in the 
Belgian papers, too? 

Clerk. Yes, Monsieur. 

Levardier. And there's no result? 

Clerk. Not at present, Monsieur. 

Levardier. About those footprints ? 

Clerk. They became quite obliterated at the 
Pont-Neuf. 

Levardier. I know that. Couldn't they pick 
them up again on the other side of the 
river ? 

Clerk. There's a great deal of early morning 
traffic in that neighborhood. 

Levardier. Yes, I suppose there is. So they've 
only traced them as far as the bridge ? 

Clerk. The police are watching a man who left 
last night for Calais. 

Levardier. What man ? Who is he ? 
. Clerk. I haven't got any details at present. 
, Levardier. That might be anybody. If I know 
anything about the police it's the wrong man. 



"THE INTRUDER" 57 

At all events f Pauline speaking off u.) 

Pauline. Can you direct me to M. Levardier's 
office ? 

First Clerk. (Speaking off) This way, 
Madame. 

Levardier. Tm expecting that lady. Show her 
in here. (^ Clerk exits. Levardier sits at desk and 
writes. Clerk re-enters with Pauline. Clerk 
exits, closing door. Pauline comes slowly to r. of 
desk. There is a pause. While Levardier contin- 
ues writing) 

Pauline You sent for me? 

Levardier. (Putting his pen down leisurely) 
Yes. When I went out this morning you were still 
in bed. 

Pauline. I usually am when you leave the house 
in the morning. 

Levardier. Quite so. You usually remain there, 
I believe, till about eleven o'clock. As it happens, I 
had occasion to return this morning for some pa- 
pers almost at once, and I was informed that you 
had gone out. Your usual habits, for some reason, 
had been disturbed. 

Pauline. I was very busy this morning. 

Levardier. So I imagine. 

Pauline. There were many things to attend to. 
Would you like a complete list of my housekeeping 
duties ? 

Levardier. Why should I? ' 

Pauline. You have every right to ask for it. I 
seem to have become nothing more than your house- 
keeper. Since this burglary I have certainly not 
been your wife. Your manner to me has totally 
changed. 

Levardier. That has struck you? 

Pauline. I think you intended it should. The 
very message you left for me to come here was an 



58 "THE INTRUDER" 

order — it was not a request — and I — I don't under- 
stand. 

Levardier. I see. You complain that my mes- 
sage to you was an order? Well, it was. That is 
exactly what it was intended to be — an order. In 
this office I am not your husband and you are not 
my wife. I am an examining magistrate and you 
are a witness giving evidence with regard to this 
theft. 

Pauline. You heard all I had to say — yester- 
day morning — in front of the Commissaire. I have 
nothing to add to it, nothing. I saw nothing and I 
heard nothing. I know nothing whatever beyond 
what I have already said. 

Levardier. I work independently of commis- 
saires. 

Pauline. (Passionately) Then I don't under- 
stand the law ! What more do you want me to do ? 
Is it necessary for me to go on repeating over and 
over again things I have already said? I don't 
understand what you want of me? Is it my fault 
that the house was broken into while you Avere 
away? 

Levardier. Possibly not, but you are going to 
help me catch the thief. 

Pauline. I ? (There is a knock on the 

door) 

Levardier. Come in. ("Second Clerk enters) 

Second Clerk. Excuse me. Monsieur^ but Com- 
missaire Robert is here and he wishes to speak to 
you at once. 

Levardier. Bring him in. ("Clerk exits. Le- 
vardier rises, crosses to door l., opens it and says) 
I shall have to ask you to wait. ("Pauline crosses 
below desk and exits. Levardier closes door, 
and moves back c. Commissaire enters hur- 
riedly) 



"THE INTRUDER" 59 

Com MISS AIRE. (Coming to r. of desk) Gue- 
rand ! ! ! 

Levardier. (After a slight pause) Guerand? 
Well, what about Guerand? (Looks straight at 

COMMISSAIREJ 

CoMMissAiRE. I found out a good deal about 
Guerand. 

Levardier. Go on, go on ! 

CoMMissAiRE. You recollect that Madame Le- 
vardier stated that he left the house at midnight? 
Well, apparently he did so. 

Levardier. What do you mean by apparently? 
Didn't he leave the house at midnight? 

CoMMissAiRE. (Convinced that his theory is cor- 
rect) Yes, and he returned. He returned to your 
flat at about five. He was there again at five. 
That's my theory, and it was my theory from the 
first, but I wanted proof. Here's the whole thing 
in a nut-shell. At eleven o'clock that night Madame 
Levardier dismissed the servants and they went to 
bed. At twelve o'clock Guerand left, too — left the 
flat, not the building. That was my theory. The 
concierge says no one went out of the place till 
past five. Well, that all fits in. Between twelve 
o'clock and five Guerand was on the stairs — I knew 
it — on the stairs waiting, and he came back when he 
was wanted — ^on time — or some pre-arranged sig- 
nal. He was in collusion with the man outside. 
Once the man outside was in, all Guerand had to 
do was to point to the drawer where he'd seen you 
put away the notes — (Taking envelope from his 
pocket) — and here they are ! (Draws out notes and 
places them on desk) 

Levardier. (Thunderstruck) The notes!!! 

CoMMissAiRE. Every one of them! 

Levardier. My God ! Guerand ! 

Commissaire. Red-handed! They were in his 



6o "THE INTRUDER" 

own flat. (Looking at envelope which he has re- 
tained) What I can't understand is that the en- 
velope enclosing them was addressed to you. 

Levardier. To me? 

CoMMissAiRE. Yes. What do you make of it? 

Levardier. (Slowly) I don't know what to 
make of it. YouVe arrested him? 

Commissaire. I have, Monsieur. 

Levardier. Was he — alone? 

Commissaire. His man was with him. 

Levardier. No one else? 

Commissaire. Yes, he had a friend with him. 
A man who was very rude to me. 

Levardier. (After a short pause) I shall want 
to see Guerand ! 

Commissaire. He wants to see you. 

Levardier. Have him brought here. I may 
want you again as well, remain within call, f Com- 
missaire exits R. Levardier thinks for a moment, 
and looks at notes which are on table. Then 
glances at door l. Then as though having made up 
his mind, he goes to door l.^ opens it and signs to 
Pauline, who enters. Levardier goes hack to be- 
hind desk. Pauline closes door and moves slowly 
down to chair l. of desk) The person who stole 
those notes has been arrested. 

Pauline. Arrested ? 

Levardier. Arrested. And the name of that 
person is Guerand — George Guerand. (Pause of 
sheer amazement. Pauline takes a step back) 

Pauline. It's not true! It's infamous! It's a 
lie! 

Levardier. The name of the thief is Guerand. 

Pauline. (Taking a step towards him) Rene, 
it's monstrous ! How can you say such a thing ! It's 
outrageous. George is an honorable man! 

Levardier. Ha, ha! An honorable man, is he? 



"THE INTRUDER*' 6i 

He hid in my house all night and he robbed met 
He's a robber, a crafty, designing robber! 

Pauline. It's not true! It isn't true! I can 
swear he left at twelve ! 

Levardier. I can prove he was there till five ! 

Pauline. (Moving to desk) Then do it! You 
can't ! I defy you ! On my oath, he left at twelve ! 

Levardier. Then so much the worse for him. 

Pauline. You can't have any proof of this. It 
would be impossible — to get it. 

Levardier. Oh ! You want proof, do you ? 
Well, you shall have it — you shall have it. (Picks 
lip some of the notes from table) Here's your 
proof ! Here's your evidence ! I can give you 
proof ! By God, yes ! There ! There ! (Throws 
notes on the table) Touch it! Look at it! Notes 
— stolen notes ! Hundreds ! Thousands ! Wrested 
from the fingers of your honorable man in his own 
home by the police. 

Pauline. Yes, and they're capable of it. 
They're capable of it (^Levardier moves up with 
an im^patient exclamation. Slight pause) Well, it's 
a He ! I, your wife, tell you it's a lie. f Levardier 
comes down) They may have been torn from his 
fingers, as you say — but it's a lie — they may have 
found these notes in his pocket — (Grasps them and 
holds them up) — but it's a lie. It's a lie that he 
took them. It's a lie that they were stolen by him. 
It's a lie! It's a He! It's a lie!!! (Brings notes 
down heavily on desk, pause) I know that it's a lie, 
do you understand ? I know that it's a He ! I know ! 
I can prove his innocence. I can prove it! And I 
win ! I'll shout it over the roofs of Paris. I'll 
scream it at every corner of every street ! Now let 
me tell you 

Levardier. Wait ! 
• Pauline. No! There's nothing to wait for! 



62 "THE INTRUDER'' 

Levardier. Wait! 

Pauline. (Still speaking passionately) No! 
George spent that night with me. (There is a 
pause. Levardier sinks into chair r.c. Quietly) 
When I said he left at twelve, I lied. If he says so, 
he lies. He stayed with me till five. I heard him 
go. I saw him go. I waited there. I heard the 
front door close behind him as he left me — and the 
notes were in the drawer where you left them. I 
know you found his watch. I can tell you where 
jou found it. And this is because I love him — be- 
cause I love him and I can't love you. (^Levardier 
rises and goes up. Sinks into chair L. of desk) 
Because he has made my life a delight and you have 
left it empty. (Boies her head) 

Levardier. (After a pause. Levardier comes 
io behind desk) So be it. Sile ce might have 
served you better than speech. Slence would have 
served you better than words that scorch and blis- 
ter. But you are a woman who chooses to destroy. 
(Steps to her) You have destroyed your life with 
me. Home — you've destroyed that. It's gone. 
You can destroy other things, too. You are the 
daughter of a fine old man and a sweet a;d gentH 
lady. In their old age they worship you. Do you 
wish to destroy them, too ? Reflect. There is a 
future where you will not be as you are to-day — 
passionate, young, respected — a future empty of se- 
curity and peace. Think. These are the memories 
you are going to smirch. This is the thing you are 
going to shout over the roofs of Paris and from 
the corners of every street. You will bring dis- 
honor on them. But if you drag their name into the 
gutter with mine there will be no mercy in me. To 
the gutter you shall go — and stay, and when your 
lover sickens of you, as such lovers as he do, you 
wU have the gutter to console you. You will have 



I 



"THE INTRUDER" 63 

the companionship of the gutter because you have 
outraged the code and dishonored your womanhood. 
And there will be sixty seconds in every minute and 
twenty- four hours in every day. Reflect! Is Gue- 
rand your lover, or is he the thief? Which is he? 
Choose ! 

Pauline. (Slowly) He is my lover. 

Levardier. That is your decision? 

Pauline. That is the truth. (Slight pause. 
When knock is heard at the door. Slight pause. 
Then another knock. Commissaire enters r. and 
stands at door) 

Commissaire. Monsieur Guerand. 

Levardier. When I ring (^Commissaire 

exitSy closing door. Levardier goes to door l., 
opens it) Again I must ask you to wait. (^Pauline 
goes slowly off. Levardier closes door. Stands 
there for a moment^ hozved in grief. Then straight- 
ens himself and crosses zvith great determination 
and rings bell. Commissaire re-enters, shozving on 
Guerand. Commissaire exits. Levardier sits) 

George. (Greatly agitated, comes r^c.) Le- 
vardier ! 

Levardier. They tell me you're under arrest. 

George. My God, man, — what am I to say to 
you ! You can't believ^ I robbed you of those notes ! 
Levardier, you can't believe that ! You must know 
I'm incapable of such a thing ! You know I'm tell- 
ing you the truth — now. 

Levardier. I admit that three days ago I should 
have believed you to be incapable of this. 

George. And you believe that still. 

Levardier. In three days much water may flow 
under the bridge. 

George. For God's sake, man, don't speak in 
parables. Fm under arrest. I'm under arrest for 
theft! 



64 "THE INTRUDER" 

Levardier. These notes, everything that was 
stolen from me, were found in your house half an 
hour ago. 

George. I know — it's crushing me. Within half 
an hour of my return from Brussels, T was pounced 
on by the police and arrested like a common 
swindler. 

Levardier. And what are you? 

George. What am I ? Vm not that — I'm not 
that! By everything I hold sacred, Fm not that! 

Levardier. (SueeringJy ) And what do you 
hold sacred? 

George. Damn it, man, you l)elieve me! You 
believe me, don't you? I never took those notes 
from you. 

Levardier. \\M, where did you get them? 

George. (Hesitatingly ) I bought them. 

Levardier. I thought vou told me vou were 
broke. 

George. I did tell you so. I was broke. Tm 
broke still. But I raised 20,000 francs in Brussels 
and I ustd it to buy back those notes. 

Levardier. For me? 

George. Yes, for you, why not? 

Levardier. ^^^hy ? It's one of the kindest things 
I've ever had done to me. I don't know if I ever 
heard of such a thing being done before. 200,000 
francs in Bank of France notes bought for 20,000 
francs by one friend for another. It's idyllic. .\nd 
w^ho was the credulous person who was induced to 
part with them for so very much less than their 
value ? 

George. It was blackmail. That goes without 
saying. 

Levardier. Still, now we're on the subject, who 
blackmailed you ? 

George. I don't know — I can't tell you that.. 



"THE INTRUDER" 65 

But someone did. A man came to my rooms this 
morning, with those notes — and I made terms with 
him. 

Levardier. And before you had time to com- 
municate with me, you were pounced on by the 
poHce ? 

George. That's precisely how it occurred. As 
for this man who 

Levardier. Ah ! About him. We mustn't for- 
get about him in the joy of recovery. What did he 
talk about? Tell me about him. 

George. He couldn't dispose of the notes be- 
cause the numbers had been published. 

Levardier. I see. 

George. As a matter of fact, the Commissaire 
found those notes in an envelope addressed to you. 
(Catching sight of envelope on table) There is the 
envelope now. 

Levardier. (Taking up envelope) Is this your 
writing? 

George. No. 

Levardier. Whose is it? 

George. It is the writing of the man from whom 
I bought the notes. 

Levardier. Is it your envelope? 

George. Yes. 

Levardier. Then why didn't you address it 
yourself? 

George. Because I intended to return them to 
you anonymously. 

Levardier. Why ? 

George. Because I didn't care to be known in 
the transaction. As a matter of fact, the idea was 
suggested by the man from whom I bought them. 

Levardier. What did he say? 

George. I imagine he said what is usually said 
-by such persons on such occasions. 



66 "THE INTRUDERS' 

Levardier. What occasions? 

George. I suppose he followed me home from 
your house the other evening. 

Levardier. There's nothing in that. Why 
shouldn't he ? 

George. Well, I stayed rather late — and you 
happened to be away from home. 

Levardier. Well? 

George. When such things as that — and they're 
both perfectly true — when such things as that are 
put to one early in the morning, after a long night- 
journey, they can be made to sound very unpleasant. 

Levardier. But the element of blackmail is not 
very conspicuous — s*o far. 

George. Perhaps not. Still, I presume you 
would rather I took the course I did than any other? 

Levardier. Tm delighted. I've got back these 
notes. That's what was worrying me. 

George. And a scandal about Pauline and my- 
self would not have been particularly unpleasant. 

Levardier. (After a slight pause) I should 
hate it. 

George. Then isn't it in your power to settle the 
whole business ? 

Levardier. You mean, give an order for your 
release ? 

George. (Anxiously) Yes. 

Levardier. (Slowly) Yes, I suppose it is. 

George. Then, for God's sake, do it, Levardier! 

Levardier. (Opening drawer of desk) Wait a 
moment ! I've got something of yours I should like 
to restore. You've restored my property to me, and 

I (Takes out George's watch and rises. 

George sees it and turns away, moving slightly to r. 
Levardier going to GeorgeJ This is yours, isn't it? 
f George avoids his eye) It was found in my house 
on my return from Fontainebleau. I found it my- 



t 



"THE INTRUDER" 67 

self. Take it, it belongs to you. (Hands George 
watch, who takes it, still avoiding Levardier's eye) 
A few moments ago you were described to me, here, 
as an honorable man. I must be a man who is un- 
able to perceive these fine distinctions. Honor is — 
honor. And revenge is revenge. We spoke about 
these things, if you remember, at my house the 
other evening, before I left for Fontainebleau, — 
before I left my wife alone with you. I stated my 
views and said what I should not do if certain things 
were to happen to me. These things — have hapn 
pened. Much water has passed under the bridge 
and you are in that water — drowning. With the 
ruins of my loveless home about me, I stand on the 
riverside watching you drown — watching you die — • 
watching the waters close over you as they suck 
you down into the slime. Thief ! Thief ! Not of 
^oVl. But of flesh. I prefer to accuse you of the 
theft of gold ! (Pause. He goes back to behind 
desk and picks up a document. George slowly 
places the zvatch in his inside pocket. Levardier 
reading) Madame Levardier has stated that you 
l-^ft the house on the right of the burglary at twelve 
o'clock and she didn't see you again. Is that the 
case? (Slight pause) You understand me when I 
demand that you admit it now to me. 

George. I'm to wear a convict's dress because I 
love a woman who belongs to you ! 

Levardier. You are to wear a convict's dress 
because you stole a woman who belongs to me. 

George. And life as I have always known it, 
with friends and interests, and freedom 

Levardier. Those things will be taken away 
from you. You are to suffer. 

George. (Vehemently, and going to desk) Well, 
go on, man ! Do it ! Do it ! And be damned to 
you. If I were not prepared to suffer that, I 



68 "THE INTRUDER" 

couldn't tell you that I do love your wife. By 
God, yes, better thati you! Go on, man! Do it! 
Do it! Don't hesitate! Brand me, cover me with 
stripes, stick me in a filthy cell, let the slime close 
over me and suck me down. Then perhaps you will 
be satisfied. 

Levardier. Then I shall be satisfied. (Pause, 
He sits and zirrites) I shall require you to sign 
this. Read it! (Hands document to George, who 
reads it, Levardier handing him pen) Sign it! 
f George does so) That is my revenge! (Indicates 
document which he places on desk. Rises and 
moves to l.J My wife is here. 

George. Pauline ? 

Levardier. (Sternly) My wife. I wish to 
speak to you, together. (Opens door l. Pauline 
enters slozdy and moves down to l. of chair l.c. 
She and George exchange lingering glances. Le- 
vardier, leaving door open, goes back to desk and 
takes up confession. He reads) "I, George Gue- 
rand, hereby confess that on the night of November 
the 15th, 1916, I entered the house of Rene Le- 
vardier, Magistrate, Fauburg St. Honore No. 9, 
and that I stole from him bills on the bank of 
France to the amount of 200,000 francs. Signed, 
George Guerand." (^George makes a hopeless ges- 
ture to PaulineJ 

Pauline. Rene, you can't. You can't do that. 
Rene, I love him — I love him. (Sinks into chair 

L.C.J 

Levardier. And what of that? Am I to be the 
only sufferer ? I also am a man with rights. They 
shall not go unsatisfied. That man — that thief, stole 
you. Between you, you betrayed me. You plead 
the cause of every faithless wife. You, the very 
apex of this eternal triangle, this everlasting prob- 
lem ! Fve read it in books — Fve seen it in plays — 



"THE INTRUDER" 69 

Fve dealt with it in my daily practice in the courts 
— that there is only one aspect of the situation I 
can grasp: punishment. I impose that, and thtjs 
preserve the remnants of my self-respect. 

Pauline. You can't do it, Rene! "You can't 
fasten a crime on a man for a thing he hasn't done. 
(Rises) And you haven't reckoned on me, Rene, you 
haven't reckoned on me. (Moves to desk and speaks 
zvith great determination) If you do this to George, 
if you brand him as a thief, then on my oath, I'll 
brand you. I'll tell the truth about this lie, at any 
cost. If you ruin George, I'll ruin you. I'll expose 
you if I can, and every decent man you know will 
be ashamed to speak to you. 

Levardier. Very well. But I'm not afraid of 
threats. An upright man protects hfs name and 
every upright woman treasures hers. Do what you 
threaten. Destroy me if yoii wish to do so, destroy 
me if you ca^-*, and break the hearts of those who; 
love a"d cherish you — and now bid him good-bye. 
(Goes up c.) 

Pauline. George, I said I'd face it out with 
you. I'm ready to do so still. 

George. Pauline, you're splendid. We can't, 
you know we can't do that. We can't think only of 
ourselves, we've got to take our punishment. We 
mustn't break other people's hearts. (^Pauline 
looks away) He's right. You have a father and 
a mother. I haven't, so it matters less. He has a 
right to justice as he sees it. He isn't a man who 
will release you. He doesn't look at life that way. 
We've wronged him, he hasn't wronged us, and that 
is the best way out of it. But you mustn't sacrifice 
yourself for me. (Pause) Pauline! Do you 
understand? (^Pauline nods and sinks into chair, 
sobbing. Turning to LevardierJ I'm ready, Mon- 
sieur. 



7Q "THE INTRUDER" 

Levardier. (Comes down and rings bell. Slight 
pause. CoMMissAiRE enters and stands at door r.) 
Monsieur Guerand remains u^^der arrest. ^George. 
with a look at Pauline, draws himself up and walks 
bravely off r. The Commissaire follozvs him., clos- 
ing door behind him) And now you, too, may go, 
f Pauline rises slowly and moves in front of desk) 

Pauline. Yes, I will go. But not to a home 
that you can understard — to a home without even 
a child in it. (Moving up r. and turning appeal- 
ingly to Levardier J Am I to have nothing? Noth- 
ing? I may be bound to you, but Pm only bound 
to you by law and not by love. 

Levardier. Return to your parents. They need 
never know the truth, and when you are there, re- 
member I entrusted my name to you. 

Pauline. I remember a^^other man who sacri- 
ficed himself for me, could you? Could you do 
that? 

Levardier. Hnve you done it for me? Eaith- 
fulness is an obligation, too, and you accepted it. 

Pauline. Rene, I <lon't wa^^t to hurt you. Pm 
rot heartless, but you're so much oMer than T am. 
Rene, Pm a girl, only a girl. Ought you ever to 
have married me? You are the real thief — Rene— 
you are. 

Levardier. A th'ef, I? 

Pauline. You stole my youth from me, and no 
one can give it back to me. (She exits slozdy 
through door l., closing it behind her. Levardier 
watches her off. Pause. Crosses slozdy back to 
desk and sits. Long pause. He looks out in a dazed 
way and turns his head slozvly. His eyes fall on 
the telephony. He thinks, hesitates, is about to lift 
receiver, hesitates again, then deliberately raises it 
and speaks) 

Levardier. Give me the St. Honore police sta- 



"THE INTRUDER'' 71 

tion. ... Is that the St. Honore police station? M. 
Levardier speaking. . . . When Commissaire Rob- 
ert returns, tell him to release M. Guerand. . . . 
Yes, release M. Guerand, I shall not proceed against 
him. (Slowly replaces receiver, then leans slightly 
forward, his arms resting on the desk. Gazes out 
at audience. Pause, then SLOW CURTAIN) 



FURNITURE PLOT, ACT I 

Gray-flowered axminster carpet to cover stage. 

Grand piano in walnut up Co, on which is a bowl 
of American Beauty roses. 

Upholstered stool behind it. 

Oval table down r.c. 

Armchair with cane back and upholstered seat R. 
of it. 

Small chair l. of it. 

Large bowl on pedestal, containing hot-house 
greens and small winter flowers (pink and blue), 
above door down r. 

Tapestry armchair above window r. 
. Fire screen to fireplace up c. 

Tiled hearth to fireplace up c. 

Clock and candelabra on mantelpiece up c. 

Oval picture in gilt frame over mantelpiece up c. 

Writing table below window, up l., with five 
practical drawers (the top one down l. with key- 
hole). 

Table lamp with light blue flowered shade on this 
table. 

Small chair in front of it. 

Two pairs of gray silk poplin curtains to win- 
dows up R. and up l. Lace curtains to these win- 
dows. 

Three small colored engravings in old gilt frames. 
(One on scene below double doors l. One on scene 
above double doors l., and one on scene above 
double door down r.) 

One four-light chandelier with amber shades. 
72 



"THE INTRUDER" 73 

Two three-light brackets with amber shades, one 
on either side of fireplace. 

Small table and mirror for ''Pauline's" change 
ofif down R. 

Upright piano and stool behind fireplace off c. 

Four-legged jardiniere below double doors down 
L., containing ferns. 

Gray poplin bell pull on scene above door down L. 

Dummy light-switch on scene above door down l. 

Small cane-backed settee with upholstered seat 

L.C. 

Armchair with low cane back and upholstered seat 
below piano c. 

In Smaller Room Through Double Doors Up L. 

Small, round table on which is lamp with amber- 
fringed shade. 

Queen Ann armchair with cane back and uphol- 
stered seat above table. 

Small Chippendale chair below table. 

Two oil paintings in gilt frames on scene. 

PROPERTY PLOT, ACT I 

Telephone and five French books (between 
bronze book-ends) on table r.c. 

French newspaper with printed matter off l. for 
*'Levardier." 

Papers in drawers of writing table up l. 

French timetable in up-stage top drawer of same. 

Books and writing materials on table. 

Envelope with numbers on back containing 1,000- 
f ranc notes for "Levardier." 

Bunch of keys for "Levardier." 

On piano: Music, humidor containing cigars, tray 
on which are three liqueur decanters of kummel, 



74 "THE • INTRUDER" 

benedictine, and creme de menthe, and three liqueur 
glasses, match safe and ash tray also on piano. 
- Gold watch and fob for ''Guerand'' (must be col- 
lected after his first exit and placed in entrance 
down rJ 

Fur-lined overcoat, and hat, and cigar case for 
"Levardier," off down r. 

Wind effect ofif up l. 

Bell effect off down l. 

Electric torch and jimmy for "Stranger." 

Glass cutting effect off up l. 

Church chime effect off up l. 

Small clock strike effect oif up r. 

Door slam off down l. 

Coffee set off down l. 

"Pauline's" wrap off down r. 

Piano copy of "The Passing of Salome" on off- 
stage piano. 

FURNITURE PLOT, ACT II 

Brown-flowered Axminster carpet. 
Settee upholstered in rose plush r.c. 
Half octagonal mahogany table below this on 
which are books between book-ends. 
Louis armchair above fireplace r. 
Dogs and grate and tiled hearth to fireplace r. 

On Mantelpiece r. 

Two Empire candelabra, and bronze figure in c. 

Light oak pedestal on which is lamp with Chinese 
shade, below door up r. 

Bell pull in blue velvet, r. of c. doors. 

Two colored prints in oval gilt frames on scene, 
R. and L. of double doors. 

Two bookcases with dummy books r. and l of 
double doors^i'HuM; ; 



"THE INTRUDER" 75 

Mahogany writing desk with five drawers l. (bot- 
tom drawer down stage with keyhole). 

Empire armchair upholstered in leather, l. of this. 

Single chair upholstered in rose plush, r. of this. 

Swivel mahogany bookcase containing dummy 
books, down l. 

Five two-light brackets with flowered shades on 
scene, one either side of fireplace, one on either side 
of double doors and one below window l. 

Pair of blue velvet curtains to window L. 

Pair of lace curtains to window l. 

In Recess up c. 

Oak chest in c, either side of which are two tap- 
estry armchairs. 

Oil painting in gilt frame on scene. 

In Entrance up r. 

Oil painting in gilt frame on backing. Four- 
legged tapestry stool in angle. 

PROPERTY PLOT, ACT II 

Suitcase, overcoat and hat, ofif up r. for **Gue- 
rand." 

Bell effect off r. 

Letters on table l. 

Telephone on table l. 

Open letters on small pink note paper, in box, in 
bottom down-stage drawer of table. 

Revolver (unloaded) in top, up-stage drawer of 
table. 

Large blue envelopes in center drawer of table. 

Cabinet photo of "Pauline" in frame on table. 

Blotting pad on which is large sheet of blue 
paper ; pens, inkstand, paper knife, calender, stamp 
box and stationery box on table L. 



76 "THE INTRUDER" 

Match safe on mantelpiece. 

Cigarette case and cigarettes for "Guerand." 

Coffee set on tray, consisting of toast in rack, cup 
and saucer, coffee pot, cream jug, and sugar basin 
with tongs and napkin off up c. from L. for "Fran- 
cois/' 

Roll of looo-fra^c notes with rubber band in 
leather wallet for "Guerand/' 

Bunch of keys for same. 

Automatic pistol for "Stranger." 

Small tray on which is coffee pot, milk jug, sugar 
basin, cup and saucer and napkin, off up c. and L. 
for "Frangois." 

FURNITURE PLOT, ACT III 

Parquet stage cloth. 

Persian carpet square. 

Gray fumed oak furniture as follows : — Large 
desk with drawers c. Swivel armchair upholstered 
in green leather behind th's. Single chair uphol- 
stered in green leather l. of desk. Small table, with 
chair as above, in front, down l. Brown leather 
club armchair r.c. Single chair r. of this. Two 
armchairs upholstered in green leather, one in win- 
dow recess r. and one in window recess l. One 
single chair in doorway r. One portrait in oils in 
silvered frame on scene up c. Two two-light brack- 
ets, one each side of this. 

PROPERTY PLOT, ACT III 

On center desk : 
Telephone. 
Blotting pad. 
Law books. 

Inkstand, pens, paper knife, hand blotter, writing 
pad. 



I 



"THE INTRUDER" yj 

Two letter baskets containing official papers. 
Other official papers in letter clip. 
Bell push. 

Single official paper with seal. 
"Guerand's" watch from Act I in center drawer. 
Papers for "First Clerk'' ofif R. 
Buzzer effect ofif r. 

Notes in envelope from Act II for "Commissaire 
of Police." 

ELECTRIC AND LIME PLOT, ACT I, 
SCENE I 

As overture finishes: Bring up foots, take out 
house and orchestra lights which must remain out 
till end of act. 

To open: Foots amber and straw full up, ceiling 
border amber and straw full up. 

Brackets and chandelier alight, lamps on table 
alight. 

In entrance down r. Bunch light (three ambers 
and one white). 

In entrance down l. Bunch light (three ambers 
and three white). 

In entrance up l. Bunch light (two ambers and 
one white). 

On back cloth r. and l. of windows, two i,ooo- 
Watt lamps with No. 33 blue mediums. 

Up L. through window, baby spot of some color. 

At cue: BLACK OUT. 

When curtain has fallen bring up working sec- 
tion in border. 

END OF SCENE I 

Note: All ofif-stage working lights must be 
shielded. 



78 "THE INTRUDER" 



ACT I, SCENE 11 

Before rise of curtain: Take out working section 
in border. Bring up bunch in entrance down r. and 
blues on back cloth as before. 

When door down r. is opened: Bring up slowly, 
baby amber spot in border (which is focussed on 
head of settee l.) 

When ''Pauline'' and ''Guerand'' exit through 
double doors l. : Bring up two amber lamps on/y in 
bunch. 

When ''Pauline'' re-enters: Bring up slowly, steel 
blue baby spot in border (focussed on window l.) 

At cue (mhen "Natalie" turns up switch): Brack- 
ets up, and straws only in foots. 

No further change in this act. 

Table lamps remain out. 

Chandelier remains out. 



ELECTRIC PLOT, ACT II 

As entr' acte finishes: Bring up foots and take 
out house lights. 

To open: Straws and ambers full up in foots, and 
ceiling border. ' 

Fire in grate down r. alight (flame effect when 
^^Guerand" burns papers) 

Brackets out. 

In entrance up r. Bunch light (three ambers and 
one white). 

Left of center opening. Bunch light (two ambers 
and three whites). 

Outside window down L. Two white (incandes- 
cent) I, GOO- Watt lamps. 

No change in lights. 



"THE INTRUDER" 79 

ELECTRIC PLOT, ACT III 

As entr' acte finishes, same as Act II. 

To open: Foots and ceiling border, straws and 
ambers full up. 

In entrance up r. Bunch light (three ambers and 
one white). 

In entrance up l. Bunch light (three whites and 
two ambers). 

Outside windows. Two 1,000- Watt lights with 
straw mediums. 

One baby spot (white frosted) in border f ocussed 
on desk c. 

No change in lights. 





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JUST PUBLISHED 

Nothing But the Truth 

A Farcical Comedy in Three Acts 
By 



James Montgomery 
Cast of Characters 



Bob Bennett 

B. M. Ralston 

Clarence Van Dusen 

Bishop Doran 

Dick Donnelly 

Gwen 

Mrs. Ralston 

Ethel 

Mable 

Sable 

Martha 



SCENES 

ACT 1. A Broker's Office 

ACT 2, Jr'arior of a Couiitry Home 

ACT 3. 

TIME: The Present 

"Nothing But the Truth" is built upon the simple idea 
of its hero speaking nothing- but the absolute truth for a 
stated period He bets a friend ten thousand dollars 
that he can do it, and boldly tackles truth to win the 
money. For a very short time the task is placidly easy, 
but Truth routs out old man Trouble and then things be- 
g-in to happen. Trouble doesn't seem very large and 
aggressive when he first pokes his nose into the noble 
resolve of our hero, out he grows rapidly and soon we 
see our dealer in truth disrupting the domestic relations 
of his partner In fact. Trouble works overtime, and 
reputations that have been unblemished are smirched. 
Situations that are absurd and complications almost 
knotted, pile up, all credited to Truth, and the result of 
the wager to foster and cherish that great virtue from 
the lips of the man who has espoused the cause of truth 
to win a wager. , , j , * 

It is a novel idea and so well has it been worked out 
that an audience is kept in throes of laughter at the 
seemingly impossible task to untangle snarls into whicn 
our hero has involved aH those he comes into contact 
with It is a clean bright farce of well drawn characters 
and was built for laughing purposes only. 

William Collier playpd "Nothing But the Truth for a 
year at the Longacre Theatre, New York, and it has been 
on tour for over two seasons. ^ ^„^^^^oa 

After three years continuous success on the profess- 
ional stage we are now offering "Nothing But the Truth 
for amateur production. It is one of the ?"n«\fst f nd 
brightest farces ever written, and it is admirably suitea 
to amateur production. 

Price 6o Cents 



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